TED2003
Evelyn Glennie: How to truly listen
葛蘭妮教你如何聆聽
Filmed:
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5,875,532 views
在這場精采的演講中，聽障打擊樂家葛蘭妮告訴我們，聽音樂，不只是讓聲波敲擊耳膜這麼簡單。
Evelyn Glennie - Musician
Percussionist and composer Dame Evelyn Glennie lost nearly all of her hearing by age 12. Rather than isolating her, it has given her a unique connection to her music. Full bio
Percussionist and composer Dame Evelyn Glennie lost nearly all of her hearing by age 12. Rather than isolating her, it has given her a unique connection to her music. Full bio
Double-click the English transcript below to play the video.
00:25
I'm not quite sure whether I really want to see
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我不太肯定到底自己是否真的想在早上九點
00:29
a snare drum at nine o'clock or so in the morning.
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就見到小軍鼓
00:33
But anyway, it's just great to see such a full theater,
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但是,很高興見到全場座滿
00:37
and really I must thank Herbie Hancock
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很多謝Herbie Hancock
00:39
and his colleagues for such a great presentation. (Applause)
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和他的同事
00:43
One of the interesting things,
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一仵很有趣的事
00:47
of course, is the combination of that raw hand on the instrument
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手和樂器的結合
00:53
and technology, and of course what he said about listening to our young people.
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加上科技，和年輕人的意見
01:00
Of course, my job is all about listening,
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當然，聆聴是我的本份
01:05
and my aim, really, is to teach the world to listen.
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我的目的是教你們去聆聴
01:11
That's my only real aim in life.
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這是我的人生目的
01:15
And it sounds quite simple, but actually it's quite a big, big job.
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似易實難
01:21
Because you know, when you look at a piece of music -- for example,
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因為你知道，當你聽音樂時
01:27
if I just open my little motorbike bag -- we have here, hopefully,
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如果我打開我的小摩托車袋 - 我們這裡，希望有
01:35
a piece of music that is full of little black dots on the page.
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一塊音樂，充滿黑色的小點在頁面上
01:41
And, you know, we open it up and I read the music.
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而且，你知道，我們打開它，讀音樂。
01:49
So technically, I can actually read this.
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在技術上，其實我可以閱讀
01:54
I will follow the instructions, the tempo markings, the dynamics.
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我將遵循指示，節奏和強弱標記
01:58
I will do exactly as I'm told.
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我將會本本分分的進行演奏
02:03
And so therefore, because time is short,
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因為時間短，
02:06
if I just play you literally the first maybe two lines or so. It's very straightforward.
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如果我只“老實”地演奏一兩行樂譜。這非常簡單。
02:15
There's nothing too difficult about the piece.
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這段音樂并沒什麼難的。
02:16
But here I'm being told that the piece of music is very quick.
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但在我知道這曲子很快。
02:20
I'm being told where to play on the drum.
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我知道敲擊鼓面的哪個部份，
02:24
I'm being told which part of the stick to use.
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也知道運用鼓槌的哪個部份。
02:29
And I'm being told the dynamic.
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而且我也知道強弱變化。
02:31
And I'm also being told that the drum is without snares.
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而且我知道這一段不需要開啟響弦
02:36
Snares on, snares off.
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開響弦，關響弦。
02:39
So therefore, if I translate this piece of music, we have this idea. (Music)
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所以，如果我原原本本地“翻譯”這段音樂，就會聽到如下效果。
03:18
And so on. My career would probably last about five years.
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就像這樣。我的職業生涯也許最多五年。
03:24
However, what I have to do as a musician is do everything that is not on the music.
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但是，作為一個音樂家，我的工作是從樂譜中“無中生有”
03:32
Everything that there isn't time to learn from a teacher,
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所有那些沒時間與老師學習，
03:38
or to talk about, even, from a teacher.
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甚至探討的東西。
03:41
But it's the things that you notice when you're not actually with your instrument
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但這些東西恰恰是在你與樂器分離時才能感受到的。
03:46
that in fact become so interesting, and that you want to explore
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它們很有趣，
03:51
through this tiny, tiny surface of a drum.
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而你則想通過這個小小的鼓面來發現它們。
03:55
So there, we experience the translation. Now we'll experience the interpretation. (Music) (Applause)
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好了，我們已經體驗了什麽是原原本本的翻譯。現在我們來體會一下什麽是“演繹”
04:50
Now my career may last a little longer!
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現在我的職業生涯也許能稍稍延長一點！
04:58
But in a way, you know, it's the same if I look at you and I see
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但是在某種意義上說，這就像，我把你打量一番，
05:03
a nice bright young lady with a pink top on.
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看到一個身著粉妝的年輕聰穎的姑娘。
05:06
I see that you're clutching a teddy bear, etc., etc.
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我看到你抱著一個泰迪熊，如此如此。
05:10
So I get a basic idea as to what you might be about, what you might like,
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於是我對你有了一個基本印象，你手頭可能的活計，你可能喜歡的東西，
05:15
what you might do as a profession, etc., etc.
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你的職業，如此如此。
05:20
However, that's just, you know, the initial idea I may have that we all get
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但是，那隻是我們打量一番后
05:26
when we actually look, and we try to interpret,
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得到的最初的基本印象。然後我們開始演繹，
05:29
but actually it's so unbelievably shallow.
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但實際上這卻是如此的膚淺
05:31
In the same way, I look at the music; I get a basic idea;
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同樣的，我閱讀音樂，產生一個基本的想法，
05:34
I wonder what technically might be hard, or, you know, what I want to do.
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我思量一番，有什麽技術難關，或者，我想如何演繹。
05:39
Just the basic feeling.
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僅僅是最基本的感覺。
05:41
However, that is simply not enough.
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但是，這肯定遠遠不夠。
05:43
And I think what Herbie said -- please listen, listen.
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我想到了Herbie所說的——聆聽吧，聆聽吧。
05:47
We have to listen to ourselves, first of all.
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我們首先要做的，是聆聽我們自身。
05:51
If I play, for example, holding the stick -- where literally I do not let go of the stick --
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比如，如果我緊握鼓槌，完全不鬆開的進行演奏
06:01
you'll experience quite a lot of shock coming up through the arm.
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手臂就會感到強烈的震動
06:05
And you feel really quite -- believe it or not --
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然後就感到，信不信由你
06:07
detached from the instrument and from the stick,
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一種與樂器和鼓槌的分離感。
06:10
even though I'm actually holding the stick quite tightly.
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即使實際上我確實是緊握鼓槌的。
06:16
By holding it tightly, I feel strangely more detached.
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但是，真是由於緊握著它，我才感到奇異的分離感。
06:20
If I just simply let go and allow my hand, my arm, to be more of a support system,
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如果我稍稍放鬆，讓手臂，手掌更多的進行支撐，
06:27
suddenly I have more dynamic with less effort. Much more.
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那麼我就會以更少的力量獲得更大的響度。比剛才大得多。
06:36
And I just feel, at last, one with the stick and one with the drum.
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然後我終於感到手臂和手與鼓槌、鼓面成為一體。
06:41
And I'm doing far, far less.
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而實際上我做的是更少了，而非更多。
06:43
So in the same way that I need time with this instrument,
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所以正如我需要時間去感受樂器，
06:46
I need time with people in order to interpret them.
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我也需要時間去感受人們，從而去演繹音樂。
06:52
Not just translate them, but interpret them.
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不僅僅是翻譯樂譜，而是演繹音樂。
06:54
If, for example, I play just a few bars of a piece of music
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比如，我打上幾小節，
07:02
for which I think of myself as a technician --
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以一種純技術的方式來處理它們，
07:07
that is, someone who is basically a percussion player ... (Music)
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就是說，完全以打擊樂者的視角來處理音樂，
07:24
And so on. If I think of myself as a musician ... (Music)
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效果就是這樣的。但是如果我以音樂家的視角來演奏，
07:50
And so on. There is a little bit of a difference there that is worth just -- (Applause)
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效果就是這樣的。儘管只有一點小小的區別，（掌聲）
07:57
-- thinking about.
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我認為還是值得思考的
07:59
And I remember when I was 12 years old,
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我記起我12歲時，
08:02
and I started playing tympani and percussion, and my teacher said,
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我開始演奏定音鼓和打擊器樂，老師對我說，
08:08
"Well, how are we going to do this? You know, music is about listening."
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“我們怎麼進行呢？你知道，音樂關乎聆聽。”
08:14
And I said, "Yes, I agree with that. So what's the problem?"
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“是呀，我完全同意，怎麼了？”
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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他說，“可是你如何才能聽到這個，聽到那個呢？”
08:23
And I said, "Well, how do you hear it?"
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我說，“那你怎麼聽呢？”
08:25
He said, "Well, I think I hear it through here."
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他說，“嗯，我想是用這兒聽的。”
08:29
And I said, "Well, I think I do too -- but I also hear it through my hands,
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我說，“嗯，我想我也是，但是我還可以用雙手，
08:34
through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
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用雙臂，用顴骨，用頭骨，用肚子，用胸膛，用雙腿去聽。”
08:41
And so we began our lessons every single time tuning drums --
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於是每節課一開始，我們都對鼓進行調音。
08:47
in particular, the kettle drums, or tympani --
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尤其是定音鼓。
08:50
to such a narrow pitch interval, so something like ...
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先調到一個小音程，就像這個
08:59
that of a difference. Then gradually ... and gradually ...
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然後逐漸縮小，再縮小
09:06
and it's amazing that when you do open your body up,
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令人驚奇的是，當你完全把身體打開，
09:11
and open your hand up to allow the vibration to come through,
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把雙手打開以便讓震動穿透的話，
09:15
that in fact the tiny, tiny difference ...
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那麼實際上，就算是很細微的差別，
09:19
can be felt with just the tiniest part of your finger, there.
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也可以被指頭微妙的感受到。
09:25
And so what we would do is that I would put my hands on the wall
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所以我們做的就是我把手放在音樂教室的牆上，
09:29
of the music room, and together we would "listen" to the sounds of the instruments,
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然後我們一起聆聽各種樂器的聲音，
09:36
and really try to connect with those sounds
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以一種更加開放寬廣的方式與它們相連接，
09:39
far, far more broadly than simply depending on the ear.
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遠勝於只依靠耳朵的單純聆聽。
09:44
Because of course, the ear is, I mean, subject to all sorts of things.
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因為耳朵顯然受制于很多東西。
09:48
The room we happen to be in, the amplification, the quality of the instrument,
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我們所處的房間，擴音效果，樂器的質量，
09:53
the type of sticks ... etc., etc.
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不同的鼓槌，如此如此。
10:03
They're all different.
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這些都是不同的。
10:11
Same amount of weight, but different sound colors.
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重量一樣，但音色不同。
10:16
And that's basically what we are. We're just human beings,
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但其實這就是我們本身，我們是人，
10:18
but we all have our own little sound colors, as it were,
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但每個個體都有自身的“音色”
10:21
that make up these extraordinary personalities
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塑造了我們形形色色的個性
10:24
and characters and interests and things.
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品質，興趣愛好等
10:27
And as I grew older, I then auditioned for the Royal Academy of Music in London,
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當我長大些的時候，我去英國皇家音樂學院面試。
10:33
and they said, "Well, no, we won't accept you, because we haven't a clue,
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他們說，“不行，我們不能讓你入學，因為我們的確是不知道
10:37
you know, of the future of a so-called 'deaf' musician."
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聾人音樂家能有什麽樣的未來。”
10:42
And I just couldn't quite accept that.
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我實在是不能接受。
10:46
And so therefore, I said to them, "Well, look, if you refuse --
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所以我跟她們說，“好吧，如果你拒絕，
10:53
if you refuse me through those reasons,
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如果你拒絕我是因為那些理由，
10:56
as opposed to the ability to perform and to understand and love
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而不是因為演奏能力或是對於
11:05
the art of creating sound --
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創造聲音這種藝術的理解與熱愛，
11:08
then we have to think very, very hard about the people you do actually accept."
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那麼我們很難理解你們到底要招收什麼樣的學生。”
11:14
And as a result -- once we got over a little hurdle, and having to audition twice --
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所以，克服了一點小障礙之後，我們得做兩次面試，
11:20
they accepted me. And not only that --
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他們接受了我，而且不僅如此
11:24
what had happened was that it changed the whole role
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這件事改變了
11:28
of the music institutions throughout the United Kingdom.
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全英國音樂學院的入學標準。
11:32
Under no circumstances were they to refuse any application whatsoever on the basis of
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任何學校都不得以某人沒有手臂，沒有雙腿
11:41
whether someone had no arms, no legs --
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等理由而拒絕他。
11:43
they could still perhaps play a wind instrument if it was supported on a stand.
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也許他們仍可以演奏管樂，如果樂器能固定在支架上的話。
11:47
No circumstances at all were used to refuse any entry.
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他們不得無端拒絕任何申請者。
11:54
And every single entry had to be listened to, experienced and then
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每一個申請者都應該被聆聽，被體驗
11:59
based on the musical ability -- then that person could either enter or not.
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然後以音樂能力來決定是否招收他。
12:07
So therefore, this in turn meant that there was an extremely interesting
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所以這就意味著在各種音樂學院里
12:13
bunch of students who arrived in these various music institutions.
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有很多各種各樣的有趣的學生
12:17
And I have to say, many of them now
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而且我得說，他們中的很多人
12:20
in the professional orchestras throughout the world.
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都在世界各地的專業管弦樂團中演奏。
12:24
The interesting thing about this as well, though --
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有趣的是，
12:26
(Applause) --
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（掌聲）
12:31
is quite simply that not only were people connected with sound --
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人們不僅僅與聲音相連，
12:37
which is basically all of us, and we well know that music really is our daily medicine.
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而且我們所有人都知道音樂是我們日常良藥。
12:44
I say "music," but actually I mean "sound."
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我說音樂，但實際上是聲音。
12:47
Because you know, some of the extraordinary things I've experienced
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因為，作為音樂家，我經歷一些非同尋常的事情。
12:50
as a musician, when you may have a 15-year-old lad
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比如一個十五歲的男孩兒，
12:55
who has got the most incredible challenges,
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自身有很多難以克服的困難，
13:00
who may not be able to control his movements,
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他也許不能控制自己的身體運動，
13:03
who may be deaf, who may be blind, etc., etc. --
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他也許失聰，失明，如此如此。
13:06
suddenly, if that young lad sits close to this instrument,
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但當他靠近這個樂器坐下，
13:12
and perhaps even lies underneath the marimba,
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或者甚至是躺到馬林巴琴底下，
13:15
and you play something that's so incredibly organ-like, almost --
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然後我演奏了一段音色類似管風琴的音樂
13:21
I don't really have the right sticks, perhaps --
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我沒帶合適的鼓槌，也許
13:24
but something like this. Let me change. (Music)
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就是類似的這樣一段，讓我換一下。
14:18
Something that's so unbelievably simple --
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一段簡單的不能再簡單的音樂。
14:19
but he would be experiencing something that I wouldn't be,
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但是他卻體驗到了我所體驗不到的東西。
14:25
because I'm on top of the sound.
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因為我在聲音的上方。
14:27
I have the sound coming this way.
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聲音是這麼沖我來的。
14:30
He would have the sound coming through the resonators.
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而對於他，聲音卻直接來自共鳴腔。
14:33
If there were no resonators on here, we would have ... (Music)
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如果沒有共鳴腔的話，效果就會是這樣
14:43
So he would have a fullness of sound that those of you in the front few rows
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所以他所體驗的飽滿的聲音，無論是坐在前排的
14:47
wouldn't experience, those of you in the back few rows wouldn't experience either.
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還是後排的人都體驗不到的
14:51
Every single one of us, depending on where we're sitting,
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每個人，因為所處位置的不同
14:54
will experience this sound quite, quite differently.
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都體驗到不同的聲音。
14:58
And of course, being the participator of the sound,
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當然，作為聲音的參與者，
15:01
and that is starting from the idea of what type of sound I want to produce --
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我會思考我想創造什麼樣的聲音。
15:07
for example, this sound.
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比如這個聲音。
15:16
Can you hear anything?
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你們聽到什麽了麽？
15:19
Exactly. Because I'm not even touching it.
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沒錯。因為我連碰都沒碰呢。
15:22
But yet, we get the sensation of something happening.
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但是，我們卻感覺到的確在發生什麽。
15:28
In the same way that when I see tree moves,
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就像我們開到樹枝搖曳，
15:30
then I imagine that tree making a rustling sound.
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然後我能想像葉子嘩啦作響。
15:34
Do you see what I mean?
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你們明白我的意思嗎？
15:36
Whatever the eye sees, then there's always sound happening.
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眼睛見到的任何事情，聲音都伴隨著產生。
15:40
So there's always, always that huge --
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所以每時每刻，
15:44
I mean, just this kaleidoscope of things to draw from.
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靈感都從五彩斑斕的世界中產生。
15:49
So all of my performances are based on entirely what I experience,
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我的所有演奏都完全基於我自身的體驗，
15:55
and not by learning a piece of music, putting on someone else's interpretation of it,
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而不是記下一段音樂，模仿某人的演繹，
15:59
buying all the CDs possible of that particular piece of music, and so on and so forth.
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購買這件作品的所有唱片，如此如此。
16:04
Because that isn't giving me enough of something that is so raw and so basic,
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因為這樣做我體會不到那種原始的基本的東西
16:10
and something that I can fully experience the journey of.
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這種東西才是我能完全的、飽滿的體歷的。
16:16
So it may be that, in certain halls, this dynamic may well work. (Music)
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有些音樂廳，這樣的聲量就夠了。
16:34
It may be that in other halls, they're simply not going to experience that
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但是在其他的音樂廳，可能
16:38
at all and so therefore, my level of soft,
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根本聽不到，所以我的輕聲、
16:41
gentle playing may have to be ... (Music)
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柔和的聲量可能是這樣:
17:08
Do you see what I mean? So, because of this explosion in access to sound,
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懂了嗎？也就是因為這種聲量放大，
17:15
especially through the deaf community,
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特別是因為聽障朋友的緣故，
17:17
this has not only affected how music institutions,
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這不只影響了音樂學院
17:22
how schools for the deaf treat sound -- and not just as a means of therapy --
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以及啟聰學校對聲音的處理。這也不僅被視為是一種治療方法－－
17:28
although of course, being a participator of music,
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當然身為音樂人，
17:31
that definitely is the case as well.
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治療也是一部份。
17:34
But it's meant that acousticians have had to really think about the types of halls
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但這也代表聲學工作者必須仔細考量
17:41
they put together. There are so few halls in this world
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他們所設計的演奏廳。世界上
17:46
that actually have very good acoustics,
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有好的音效的演奏廳，少之又少。
17:50
dare I say. But by that I mean where you can absolutely do anything you imagine.
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所謂好，就是說你可以盡情發揮想像力為所欲為的地方。
17:56
The tiniest, softest, softest sound to something that is so broad,
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從最小、最輕、最柔的聲音到很大、
18:01
so huge, so incredible! There's always something --
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很響、很炫的聲音！但是事實是，
18:06
it may sound good up there, may not be so good there.
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有些聲音這裡聽起來很好，但那邊卻不行；
18:08
May be great there, but terrible up there.
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這裡可以，但那邊卻很糟；
18:10
Maybe terrible over there, but not too bad there, etc., etc.
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又有可能那邊很糟，可是另一邊還不錯，等等。
18:14
So to find an actual hall is incredible
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要找到一個真正好的，
18:19
-- for which you can play exactly what you imagine,
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完全可以達到你想要的演奏效果
18:23
without it being cosmetically enhanced.
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而不需進過任何修飾的演奏廳幾乎是不可能的。
18:26
And so therefore, acousticians are actually in conversation with people who are
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所以音響學家正在與聽障的音樂人
18:33
hearing impaired, and who are participators of sound.
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共同探討。
18:39
And this is quite interesting.
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這非常有趣。
18:41
I cannot, you know, give you any detail as far as what is actually happening
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雖然我還不能告訴你們有關演奏廳一些進行當中的細節，
18:47
with those halls, but it's just the fact that they are going to a group of people
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但光是向這一群人諮詢
18:53
for whom so many years we've been saying,
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這一群長久以來被認為
18:57
"Well, how on Earth can they experience music? You know, they're deaf."
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「他們感受得到音樂嗎？他們是聾子啊。」
19:00
We just -- we go like that, and we imagine that that's what deafness is about.
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我們這樣做，就憑空想像說失聰是這樣的。
19:04
Or we go like that, and we imagine that's what blindness is about.
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或者這樣就是失明。
19:06
If we see someone in a wheelchair, we assume they cannot walk.
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我們看到作輪椅的人，就認為他不會走路。
19:11
It may be that they can walk three, four, five steps. That, to them, means they can walk.
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但其實他們可能會走個三、四、五步。對他們而言，這就代表他們能走。
19:18
In a year's time, it could be two extra steps.
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一年後，可能可以多走兩步。
19:22
In another year's time, three extra steps.
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再一年，多三步。
19:25
Those are hugely important aspects to think about.
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這些都是很值得思考的，很重要的方面。
19:30
So when we do listen to each other,
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所以在互相聆聽時，
19:34
it's unbelievably important for us to really test our listening skills,
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仔細考驗我們聆聽的技巧是難以置信的重要。
19:42
to really use our bodies as a resonating chamber, to stop the judgment.
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把我們的身體當作共鳴箱。不要過於武斷。
19:47
For me, as a musician who deals with 99 percent of new music,
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身為音樂家，我處理的音樂有99%是“新”的，
19:51
it's very easy for me to say, "Oh yes, I like that piece.
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很容易說：“噢，對，這個我喜歡。
19:54
Oh no, I don't like that piece." And so on.
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這個我不喜歡。”如此如此。
19:56
And you know, I just find that I have to give those pieces of music real time.
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我覺得，我要在那些音樂作品上花一些時間，
20:02
It may be that the chemistry isn't quite right between myself and that particular piece of music,
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可能是我對這首曲子還沒感覺。
20:07
but that doesn't mean I have the right to say it's a bad piece of music.
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但這並不表示我有權利說這個作品不好。
20:12
And you know, it's just one of the great things about being a musician,
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而這是身為音樂家最棒的一點，
20:17
is that it is so unbelievably fluid.
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就是超乎想像的自由。
20:21
So there are no rules, no right, no wrong, this way, that way.
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因此，沒有任何規則，沒有對，錯，該這樣，該那樣。
20:25
If I asked you to clap -- maybe I can do this.
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如果我要求你們鼓掌，也許我可以這麼做。
20:30
If I can just say, "Please clap and create the sound of thunder."
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如果我說，鼓掌吧，創造雷鳴般的聲音。
20:36
I'm assuming we've all experienced thunder.
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我假定大家都知道雷鳴是什麼樣的。
20:39
Now, I don't mean just the sound;
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我不僅僅指聲音本身，
20:41
I mean really listen to that thunder within yourselves.
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我希望你們能用自身體驗雷鳴。
20:46
And please try to create that through your clapping. Try. Just -- please try.
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試著雷鳴般的鼓掌，試一下，就一下。
20:51
(Applause)
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（掌聲）
20:58
Very good! Snow. Snow. Have you ever heard snow?
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很棒！下雪，雪。你們聽過下雪么？
21:08
Audience: No.
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觀眾：沒。
21:09
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again.
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Evelyn Glennie：所以嘛，別鼓了。（笑聲）再試試。
21:15
Try again. Snow.
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再試試，下雪。
21:21
See, you're awake.
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看，你們開竅了。
21:23
Rain. Not bad. Not bad.
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下雨。還不錯，不錯。
21:32
You know, the interesting thing here, though, is that I asked a group of kids
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有趣的是，我曾經讓一群孩子做過同樣的事。
21:36
not so long ago exactly the same question.
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就在不久之前。
21:40
Now -- great imagination, thank you very much.
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好了——很棒的想像力，謝謝你。
21:44
However, not one of you got out of your seats to think,
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但是，你們沒有一個人離開座位想一想，
21:47
"Right! How can I clap? OK, maybe ... (Claps)
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“好吧，我怎麼鼓掌呢？也許這樣
21:52
Maybe I can use my jewelry to create extra sounds.
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也許用我的珠寶首飾來製造點雜音
21:55
Maybe I can use the other parts of my body to create extra sounds."
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也許用我身體的其他部位”
21:59
Not a single one of you thought about clapping in a slightly different way
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沒人想到用稍微特別點的方式來鼓掌。
22:04
other than sitting in your seats there and using two hands.
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人人都是正襟危坐，用雙手鼓掌。
22:08
In the same way that when we listen to music,
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聽音樂也是如此。
22:10
we assume that it's all being fed through here.
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我們先入為主的認為音樂完全就是在這兒的。
22:14
This is how we experience music. Of course it's not.
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這就是我們如何體驗音樂。實際上當然不是這樣。
22:18
We experience thunder -- thunder, thunder. Think, think, think.
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我們體驗雷鳴。雷鳴雷鳴，好好想一想。
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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聆聽吧。我們拿雷鳴怎麼辦呢？
22:29
I remember my teacher. When I first started, my very first lesson,
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我記起我的老師。我剛起步時，第一堂課，
22:34
I was all prepared with sticks, ready to go.
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我準備好了鼓槌，興奮不已。
22:38
And instead of him saying, "OK, Evelyn, please, feet slightly apart,
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但是他卻說，“好了，Evelyn，這樣做。雙腳站開些。
22:43
arms at a more-or-less 90 degree angle, sticks in a more-or-less V shape,
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雙臂呈直角，鼓槌呈V型。
22:49
keep this amount of space here, etc.
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這兒留一點距離，如此如此。
22:52
Please keep your back straight, etc., etc., etc." --
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挺直腰背，如此如此。”
22:54
where I was probably just going to end up absolutely rigid, frozen,
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那時我肯定是全身僵直，
22:58
and I would not be able to strike the drum,
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而且也不能敲鼓了，
23:00
because I was thinking of so many other things -- he said,
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因為當時我得顧及這麼多事情。他說，
23:02
"Evelyn, take this drum away for seven days, and I'll see you next week."
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“Evelyn，把這鼓帶回家七天，下周見。”
23:07
So, heavens! What was I to do? I no longer required the sticks;
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老天！我做什麽呢？我不需要鼓槌了，
23:12
I wasn't allowed to have these sticks.
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事實上我被禁止使用鼓槌。
23:14
I had to basically look at this particular drum,
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所以我就打量著這隻鼓，
23:18
see how it was made, what these little lugs did, what the snares did.
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看看它是什麽做的，這些小把手是做什麽用的，響弦又是什麽。
23:23
Turned it upside down, experimented with the shell, experimented with the head.
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把它翻過來，用貝殼試試，用頭試試。
23:30
Experimented with my body, experimented with jewelry,
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用身體，首飾，
23:36
experimented with all sorts of things.
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用各種東西體會。
23:48
And of course, I returned with all sorts of bruises and things like that --
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當然了，回課時我遍體鱗傷。
23:51
but nevertheless, it was such an unbelievable experience,
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但是那些卻是寶貴的經驗。
23:56
because then, where on Earth are you going to experience that in a piece of music?
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因為，在一段音樂中，你去哪兒體會這所有的一切？
24:01
Where on Earth are you going to experience that in a study book?
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在課本你去哪兒體會？
24:05
So we never, ever dealt with actual study books.
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所以事實上我們沒學過課本。
24:08
So for example, one of the things that we learn
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比如，當作為一個打擊樂手，
24:11
when we are dealing with being a percussion player, as opposed to a musician,
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而並非一個音樂家，我們所學到的
24:17
is basically straightforward single stroke rolls.
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就是這樣直來直去的打節拍。
24:24
Like that. And then we get a little faster and a little faster and a little faster.
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就像這樣。然後快一些，再快一些。
24:31
And so on and so forth. What does this piece require?
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就這樣來回打。這段是什麽？
24:34
Single stroke rolls. So why can't I then do that whilst learning a piece of music?
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單一敲擊。那麼我爲什麽不能做這個呢？
24:42
And that's exactly what he did.
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這恰恰就是他所做的
24:45
And interestingly, the older I became, and when I became a full-time student
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有趣的是，當我長大些，成為一個全職學生，
24:50
at a so called "music institution," all of that went out of the window.
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在所謂的音樂學院上課的時候，這些東西通通沒有。
24:56
We had to study from study books.
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我們不得不學習課本。
24:58
And constantly, the question, "Well, why? Why? What is this relating to?
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可我不斷地要問，到底爲什麽？這到底有什麽關係？
25:02
I need to play a piece of music." "Oh, well, this will help your control!"
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我需要演奏一段音樂。“噢，這有助於你的控制力！”
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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怎麼個有助法？我憑什麼非得學這個？我必須要把它應用在某一段音樂上。
25:11
You know. I need to say something.
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你知道，我得說點什麽。
25:14
"Why am I practicing paradiddles?
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我爲什麽要打paradiddle？
25:20
Is it just literally for control, for hand-stick control? Why am I doing that?
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只是爲了掌握手與鼓槌的控制？我爲什麽要做這個？
25:25
I need to have the reason,
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我必須得到答案。
25:28
and the reason has to be by saying something through the music."
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而答案只能從音樂中來。
25:33
And by saying something through music, which basically is sound,
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通過音樂進行表達，音樂實際上是聲音，
25:38
we then can reach all sorts of things to all sorts of people.
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我們可以體驗到各色人物，各色事物。
25:43
But I don't want to take responsibility of your emotional baggage.
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但是我並不想為你們的感情負責。
25:46
That's up to you, when you walk through a hall.
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當你們走進音樂廳時，你們得為自己負責。
25:48
Because that then determines what and how we listen to certain things.
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因為那決定了我們如何聆聽，并聽到了什麽。
25:54
I may feel sorrowful, or happy, or exhilarated, or angry when I play
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當我演奏某些音樂時，也許我感到悲傷，或幸福，或狂喜，或憤怒
26:00
certain pieces of music, but I'm not necessarily
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但是我并不必要的把它們
26:02
wanting you to feel exactly the same thing.
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強加在你們身上。
26:06
So please, the next time you go to a concert,
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所以，請你們下次走進音樂廳時，
26:09
just allow your body to open up, allow your body to be this resonating chamber.
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打開你們的身體，讓你們的身體成為共鳴腔。
26:16
Be aware that you're not going to experience the same thing as the performer is.
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其實你們體驗到的並不完全是演奏者體驗到的。
26:21
The performer is in the worst possible position for the actual sound,
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也許就聲音聞言，演奏著的位置可能是最糟的，
26:25
because they're hearing the contact of the stick on the drum,
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他們聽到鼓吹敲擊鼓面的聲音，
26:31
or the mallet on the bit of wood, or the bow on the string, etc.,
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或者是木頭的聲音，或者是弓弦的摩擦，如此如此。
26:35
or the breath that's creating the sound from wind and brass.
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或者是吹奏管樂時的呼吸聲。
26:39
They're experiencing that rawness there.
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他們體驗到的是原始的聲音。
26:41
But yet they're experiencing something so unbelievably pure,
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但同時也是最純淨的聲音，
26:45
which is before the sound is actually happening.
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是聲音發生之前的聲音。
26:49
Please take note of the life of the sound after the actual initial strike,
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請注意敲擊之後聲音的整個歷程，
26:55
or breath, is being pulled. Just experience the whole journey of that sound
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或呼吸的過程。體驗一下聲音的整個生命，
27:02
in the same way that I wished I'd experienced the whole journey
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就像我多希望我能體驗到
27:06
of this particular conference, rather than just arriving last night.
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這次大會的全過程一下，而不是昨晚才抵達這兒。
27:11
But I hope maybe we can share one or two things as the day progresses.
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我希望在接下來的一天我們能有所交流。
27:15
But thank you very much for having me!
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謝謝邀請。
27:18
(Applause)
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(掌聲)
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