ABOUT THE SPEAKER
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.

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. 

More profile about the speaker
Evelyn Glennie | Speaker | TED.com
TED2003

Evelyn Glennie: How to truly listen

Evelyn Glennie 展示关于听的艺术

Filmed:
5,875,532 views

在这个令人高涨的表演中,聋人打击乐演奏艺术家Evelyn Glennie 展示了,听音乐不仅仅是简单的声波振动耳膜的过程。
- 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

Double-click the English transcript below to play the video.

00:25
I'm not quite相当 sure whether是否 I really want to see
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我一点也不确定是否我自己愿意看到
00:29
a snare圈套 drum at nine o'clock or so in the morning早上.
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小军鼓,在晚上九点以后或是早晨
00:33
But anyway无论如何, it's just great to see such这样 a full充分 theater剧院,
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不论如何,非常荣幸看到座无虚席
00:37
and really I must必须 thank Herbie赫比 Hancock汉考克
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也衷心的感谢 Herbie Hancock
00:39
and his colleagues同事 for such这样 a great presentation介绍. (Applause掌声)
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以及他的同事为了这个伟大的表演所付出的的所有努力
00:43
One of the interesting有趣 things,
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很有趣的一件事
00:47
of course课程, is the combination组合 of that raw生的 hand on the instrument仪器
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当然,是双手和表演乐器技艺的完美结合
00:53
and technology技术, and of course课程 what he said about listening to our young年轻 people.
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以及如他所说聆听我们年轻人
01:00
Of course课程, my job工作 is all about listening,
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当然 我的工作全部是与听有关的
01:05
and my aim目标, really, is to teach the world世界 to listen.
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事实上,我的目标,是让世界学会聆听
01:11
That's my only real真实 aim目标 in life.
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那是我生命的唯一目标
01:15
And it sounds声音 quite相当 simple简单, but actually其实 it's quite相当 a big, big job工作.
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这听起来很简单,但是确实是一个很艰巨的工作,非常艰巨
01:21
Because you know, when you look at a piece of music音乐 -- for example,
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因为你知道,举个例子,当你看到一段音乐
01:27
if I just open打开 my little motorbike摩托车 bag -- we have here, hopefully希望,
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现在让我来打开我的小机车包,希望能找到
01:35
a piece of music音乐 that is full充分 of little black黑色 dots on the page.
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一份画满了黑色小圆点的乐谱
01:41
And, you know, we open打开 it up and I read the music音乐.
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打开它,然后读这段音乐
01:49
So technically技术上, I can actually其实 read this.
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技术上来说,的确,我可以读懂它
01:54
I will follow跟随 the instructions说明, the tempo速度 markings标记, the dynamics动力学.
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我会根据乐谱上的拍子和节奏
01:58
I will do exactly究竟 as I'm told.
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演奏它,一字不拉地按照我所读到的
02:03
And so therefore因此, because time is short,
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在这里,由于时间的关系
02:06
if I just play you literally按照字面 the first maybe two lines线 or so. It's very straightforward直截了当.
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请允许我逐字的演奏前面的一两行。它很容易理解
02:15
There's nothing too difficult about the piece.
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这一段也一点都不难
02:16
But here I'm being存在 told that the piece of music音乐 is very quick.
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但是到这里,让我看一下,这段音乐节奏很快
02:20
I'm being存在 told where to play on the drum.
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根据乐谱,我知道该敲哪里
02:24
I'm being存在 told which哪一个 part部分 of the stick to use.
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该用鼓棒的哪一部分演奏
02:29
And I'm being存在 told the dynamic动态.
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该用怎样的强弱力度
02:31
And I'm also being存在 told that the drum is without snares网罗.
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我发现这个小军鼓响弦是放下的
02:36
Snares圈套 on, snares网罗 off.
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锁上响弦,放下响弦
02:39
So therefore因此, if I translate翻译 this piece of music音乐, we have this idea理念. (Music音乐)
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因此,如果我把从乐谱上所读到的东西转移到乐器上,会是这种感觉
03:18
And so on. My career事业 would probably大概 last about five years年份.
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诸如此类。 我的职业很有可能只能持续五年左右
03:24
However然而, what I have to do as a musician音乐家 is do everything that is not on the music音乐.
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但是 作为音乐家,我所做的一切却与音乐没有半点关系
03:32
Everything that there isn't time to learn学习 from a teacher老师,
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来不及向老师学习的事
03:38
or to talk about, even, from a teacher老师.
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甚至是无法与老师谈及的事
03:41
But it's the things that you notice注意 when you're not actually其实 with your instrument仪器
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但这是当你并不和你的乐器在一起时,你会发现的事
03:46
that in fact事实 become成为 so interesting有趣, and that you want to explore探索
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事实上变得很有趣,接着你想探索
03:51
through通过 this tiny, tiny surface表面 of a drum.
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通过这个很小小的鼓面
03:55
So there, we experience经验 the translation翻译. Now we'll experience经验 the interpretation解释. (Music音乐) (Applause掌声)
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刚刚,我们感受了一个把乐谱翻译到乐器上的过程。 现在我们来感受一下演奏的过程
04:50
Now my career事业 may可能 last a little longer!
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现在我的职业生涯或许可以持续的长一点了。
04:58
But in a way, you know, it's the same相同 if I look at you and I see
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但是其实是一样的,如果我观察一下您,我会看到
05:03
a nice不错 bright young年轻 lady淑女 with a pink top最佳 on.
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一个戴着粉色帽子的靓丽女士
05:06
I see that you're clutching抓着 a teddy泰迪熊 bear, etc等等., etc等等.
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您正在抓着一个泰迪熊,等等等等
05:10
So I get a basic基本 idea理念 as to what you might威力 be about, what you might威力 like,
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所以我会得到一个基本的个人印象,比如您可能是个怎样的人,您的爱好是什么
05:15
what you might威力 do as a profession职业, etc等等., etc等等.
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您的职业,等等等等
05:20
However然而, that's just, you know, the initial初始 idea理念 I may可能 have that we all get
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但是,众所周至,这样的初次印象每个人都会得到
05:26
when we actually其实 look, and we try to interpret,
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当大家在观察的时候。然后我们试图解释
05:29
but actually其实 it's so unbelievably令人难以置信 shallow.
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但是,事实上,这是很表面的
05:31
In the same相同 way, I look at the music音乐; I get a basic基本 idea理念;
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同样地,当我看一段音乐的时候,我得到一个基本的概念
05:34
I wonder奇迹 what technically技术上 might威力 be hard, or, you know, what I want to do.
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我在想,什么将会是技术上的难关,我到底要怎么处理
05:39
Just the basic基本 feeling感觉.
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一些最初的感受
05:41
However然而, that is simply只是 not enough足够.
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但是,这完全不够
05:43
And I think what Herbie赫比 said -- please listen, listen.
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我在想Herbie的话 请听一听
05:47
We have to listen to ourselves我们自己, first of all.
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首先,我们必须聆听我们自己
05:51
If I play, for example, holding保持 the stick -- where literally按照字面 I do not let go of the stick --
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举个例子,当我拿着鼓棒,事实上我没有松开它
06:01
you'll你会 experience经验 quite相当 a lot of shock休克 coming未来 up through通过 the arm.
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你能通过手臂感受到强烈的震动
06:05
And you feel really quite相当 -- believe it or not --
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你会确确实实地感受到,信不信由你,
06:07
detached超脱 from the instrument仪器 and from the stick,
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与乐器本身以及鼓棒是分离的
06:10
even though虽然 I'm actually其实 holding保持 the stick quite相当 tightly紧紧.
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然而事实上,我正紧紧的握着鼓棒
06:16
By holding保持 it tightly紧紧, I feel strangely奇怪 more detached超脱.
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紧紧的握着它,奇怪的是我却感受到更多的分离感
06:20
If I just simply只是 let go and allow允许 my hand, my arm, to be more of a support支持 system系统,
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如果我松开一些,让我的手和手臂作为更好的支撑
06:27
suddenly突然 I have more dynamic动态 with less effort功夫. Much more.
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突然,我用相对少的力气得到更多的动力,多得多
06:36
And I just feel, at last, one with the stick and one with the drum.
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最后我感觉到,一个离鼓槌很近,一个离鼓很近
06:41
And I'm doing far, far less.
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我做的越来越少
06:43
So in the same相同 way that I need time with this instrument仪器,
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所以相同的道理,我需要时间与乐器一起
06:46
I need time with people in order订购 to interpret them.
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我需要时间和人们在一起才能去了解阐释他们
06:52
Not just translate翻译 them, but interpret them.
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不仅仅是从表面上翻译它,而是演绎它。
06:54
If, for example, I play just a few少数 bars酒吧 of a piece of music音乐
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例如,我来演奏一点音乐的片段
07:02
for which哪一个 I think of myself as a technician技术员 --
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从我把自己看做是个会这门技术的人的角度来看
07:07
that is, someone有人 who is basically基本上 a percussion打击乐器 player播放机 ... (Music音乐)
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后者,人们称之为打击乐演奏者
07:24
And so on. If I think of myself as a musician音乐家 ... (Music音乐)
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等等......如果从我把自己看做一个音乐家的角度
07:50
And so on. There is a little bit of a difference区别 there that is worth价值 just -- (Applause掌声)
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等等......但即便是有些许的不同,那也值得
07:57
-- thinking思维 about.
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仔细想一想
07:59
And I remember记得 when I was 12 years年份 old,
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我记得在我12岁的时候
08:02
and I started开始 playing播放 tympani定音鼓 and percussion打击乐器, and my teacher老师 said,
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我开始演奏定音鼓和打击乐,我的老师说
08:08
"Well, how are we going to do this? You know, music音乐 is about listening."
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“我们怎么开始去做呢? 你知道,音乐与听是密切相关的”
08:14
And I said, "Yes, I agree同意 with that. So what's the problem问题?"
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“当然,我同意您的观点。所以问题在哪呢?”
08:18
And he said, "Well, how are you going to hear this? How are you going to hear that?"
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他说:“那么,你怎样来听这个,怎样来听那个呢?”
08:23
And I said, "Well, how do you hear it?"
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我说:“那么,您是怎样听的呢?”
08:25
He said, "Well, I think I hear it through通过 here."
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他说:“我想我是通过这儿来听的。”
08:29
And I said, "Well, I think I do too -- but I also hear it through通过 my hands,
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我说:“我想我也是,但是我还通过我的手来听。”
08:34
through通过 my arms武器, cheekbones颧骨, my scalp头皮, my tummy趴着, my chest胸部, my legs and so on."
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以及我的手臂,颧骨,头皮,胃,胸部,我的腿等等
08:41
And so we began开始 our lessons教训 every一切 single time tuning调音 drums --
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从那以后,每节课的一开始,我们都会调整鼓
08:47
in particular特定, the kettle水壶 drums, or tympani定音鼓 --
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尤其是定音鼓
08:50
to such这样 a narrow狭窄 pitch沥青 interval间隔, so something like ...
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使其处于很窄的音域里,就像这样
08:59
that of a difference区别. Then gradually逐渐 ... and gradually逐渐 ...
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有些许不同 。然后逐渐的变化,一点一点地
09:06
and it's amazing惊人 that when you do open打开 your body身体 up,
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令人惊奇的是,当你的身体完全打开
09:11
and open打开 your hand up to allow允许 the vibration振动 to come through通过,
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张开双手使震动穿过
09:15
that in fact事实 the tiny, tiny difference区别 ...
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事实上,极为微小的不同
09:19
can be felt with just the tiniest最小的 part部分 of your finger手指, there.
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都可以被你手指上最微小的部分感知
09:25
And so what we would do is that I would put my hands on the wall
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因此,我们常做的就是我会把双手贴在
09:29
of the music音乐 room房间, and together一起 we would "listen" to the sounds声音 of the instruments仪器,
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音乐教室的墙上,这样就能听到乐器所发出的声音
09:36
and really try to connect with those sounds声音
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仔细地感受那些声音
09:39
far, far more broadly宽广地 than simply只是 depending根据 on the ear.
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效果远远好于只是依靠耳朵
09:44
Because of course课程, the ear is, I mean, subject学科 to all sorts排序 of things.
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这当然是因为,我是说,耳朵受制于很多因素
09:48
The room房间 we happen发生 to be in, the amplification放大, the quality质量 of the instrument仪器,
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我们现在所在的房间,扩音效果,乐器的音效
09:53
the type类型 of sticks ... etc等等., etc等等.
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鼓棒,等等等等
10:03
They're all different不同.
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都是不一样的
10:11
Same相同 amount of weight重量, but different不同 sound声音 colors颜色.
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同样的重量,但是不同的声音色彩
10:16
And that's basically基本上 what we are. We're just human人的 beings众生,
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就如同我们一样,我们是普通的人类
10:18
but we all have our own拥有 little sound声音 colors颜色, as it were,
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但我们都有自己本身独特的,不易察觉的声音色彩
10:21
that make up these extraordinary非凡 personalities个性
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组成了人的独特的个性
10:24
and characters人物 and interests利益 and things.
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特点以及对事物的不同兴趣
10:27
And as I grew成长 older旧的, I then auditioned试镜 for the Royal王室的 Academy学院 of Music音乐 in London伦敦,
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当我年纪大些,我参加了伦敦皇家音乐学院的甄选
10:33
and they said, "Well, no, we won't惯于 accept接受 you, because we haven't没有 a clue线索,
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他们说:“恩,不,我们不能录取你,因为我们没有先例
10:37
you know, of the future未来 of a so-called所谓 'deaf''聋' musician音乐家."
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你知道,培养一位将来的,所谓的‘失聪’音乐家。”
10:42
And I just couldn't不能 quite相当 accept接受 that.
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我无法接受这样的解释
10:46
And so therefore因此, I said to them, "Well, look, if you refuse垃圾 --
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因此,我对他们说:“看着吧,如果你们
10:53
if you refuse垃圾 me through通过 those reasons原因,
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是因为那些原因拒绝我
10:56
as opposed反对 to the ability能力 to perform演出 and to understand理解 and love
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却忽略了表演的能力,对音乐的理解
11:05
the art艺术 of creating创建 sound声音 --
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以及对创造音乐艺术的挚爱
11:08
then we have to think very, very hard about the people you do actually其实 accept接受."
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我真想象不出,到底你们想要招收的学生是怎样的
11:14
And as a result结果 -- once一旦 we got over a little hurdle, and having to audition面试 twice两次 --
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结果就是,我们跨过一个很小的障碍,获得了再次甄选的机会
11:20
they accepted公认 me. And not only that --
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他们录取了我。结果还不仅如此
11:24
what had happened发生 was that it changed the whole整个 role角色
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在当时,它改变了
11:28
of the music音乐 institutions机构 throughout始终 the United联合的 Kingdom王国.
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英国范围内所有音乐学院的整个角色
11:32
Under no circumstances情况 were they to refuse垃圾 any application应用 whatsoever任何 on the basis基础 of
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在任何情况下,他们都不能拒绝任何申请者
11:41
whether是否 someone有人 had no arms武器, no legs --
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仅仅基于他有没有胳膊或者腿等等
11:43
they could still perhaps也许 play a wind instrument仪器 if it was supported支持的 on a stand.
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他们很可能仍然可以演奏管乐器,只要乐器支好
11:47
No circumstances情况 at all were used to refuse垃圾 any entry条目.
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无论任何情况,都不应该习惯于去决绝任何申请
11:54
And every一切 single entry条目 had to be listened听了 to, experienced有经验的 and then
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每一个都申请者都应该被聆听,被感受,
11:59
based基于 on the musical音乐 ability能力 -- then that person could either enter输入 or not.
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基于音乐上的才能,然后再决定这个人是否被录取
12:07
So therefore因此, this in turn meant意味着 that there was an extremely非常 interesting有趣
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这就意味着,有相当一部分有趣的学生
12:13
bunch of students学生们 who arrived到达 in these various各个 music音乐 institutions机构.
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能够在这些多元化的音乐学院学习
12:17
And I have to say, many许多 of them now
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我不得不说, 现在他们当中的很多人
12:20
in the professional专业的 orchestras乐团 throughout始终 the world世界.
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遍布于世界各地的专业管弦乐团
12:24
The interesting有趣 thing about this as well, though虽然 --
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但是,有意思的也是
12:26
(Applause掌声) --
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(鼓掌)
12:31
is quite相当 simply只是 that not only were people connected连接的 with sound声音 --
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其实很简单,人们不仅仅于声音连系在一起
12:37
which哪一个 is basically基本上 all of us, and we well know that music音乐 really is our daily日常 medicine医学.
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基本上是我们所有的人,我们都深知音乐其实是我们的生活良药
12:44
I say "music音乐," but actually其实 I mean "sound声音."
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我所说的音乐,其实就是指声音
12:47
Because you know, some of the extraordinary非凡 things I've experienced有经验的
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其实,我所经历的一些非比寻常的事情
12:50
as a musician音乐家, when you may可能 have a 15-year-old-岁 lad小伙子
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作为一个音乐家,你可能有一个15岁的男孩
12:55
who has got the most incredible难以置信 challenges挑战,
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他有很多不可思议的挑战
13:00
who may可能 not be able能够 to control控制 his movements运动,
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他可能无法控制自己的行动
13:03
who may可能 be deaf, who may可能 be blind, etc等等., etc等等. --
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也有可能是失聪的,失明的等等等等
13:06
suddenly突然, if that young年轻 lad小伙子 sits坐镇 close to this instrument仪器,
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突然,如果这个年轻的小伙子坐在乐器旁边
13:12
and perhaps也许 even lies underneath the marimba马林巴,
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甚至躺在木琴底下
13:15
and you play something that's so incredibly令人难以置信 organ-like器官样, almost几乎 --
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然后你弹奏一个非常像木琴的声音
13:21
I don't really have the right sticks, perhaps也许 --
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可能我拿的鼓棒不对
13:24
but something like this. Let me change更改. (Music音乐)
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但和这个差不多。 换一下
14:18
Something that's so unbelievably令人难以置信 simple简单 --
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一些特别简单的
14:19
but he would be experiencing经历 something that I wouldn't不会 be,
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但,他可能感受到我所不能感受到的东西
14:25
because I'm on top最佳 of the sound声音.
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因为我在声音的上方
14:27
I have the sound声音 coming未来 this way.
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声音从这个方向传来
14:30
He would have the sound声音 coming未来 through通过 the resonators谐振器.
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而对他来说,声音是从共鸣器里传来的
14:33
If there were no resonators谐振器 on here, we would have ... (Music音乐)
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如果没有共振器的话,
14:43
So he would have a fullness充满 of sound声音 that those of you in the front面前 few少数 rows
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他可能会听到一个饱满的声音,而坐在前排的你们
14:47
wouldn't不会 experience经验, those of you in the back few少数 rows wouldn't不会 experience经验 either.
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不一定能感受到这样的声音,当然,后排也不会
14:51
Every一切 single one of us, depending根据 on where we're sitting坐在,
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我们每一个人,取决于我们坐在哪里。
14:54
will experience经验 this sound声音 quite相当, quite相当 differently不同.
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对于同一声音都会有完全不同的感觉
14:58
And of course课程, being存在 the participator参加者 of the sound声音,
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当然,作为创造声音的参与者
15:01
and that is starting开始 from the idea理念 of what type类型 of sound声音 I want to produce生产 --
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这始于我想创造怎样的声音
15:07
for example, this sound声音.
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例如,这个声音
15:16
Can you hear anything?
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你们能听到什么
15:19
Exactly究竟. Because I'm not even touching接触 it.
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没错,因为我还没有碰到它呢
15:22
But yet然而, we get the sensation感觉 of something happening事件.
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但是,我们感觉到有什么事情在发生
15:28
In the same相同 way that when I see tree moves移动,
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同样地,当我看到树在动时
15:30
then I imagine想像 that tree making制造 a rustling沙沙 sound声音.
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我可以想象到,树发出瑟瑟的声音
15:34
Do you see what I mean?
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明白我的意思吗
15:36
Whatever随你 the eye sees看到, then there's always sound声音 happening事件.
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无论眼睛看到什么,总有声音随之进行
15:40
So there's always, always that huge巨大 --
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因此,常常会有
15:44
I mean, just this kaleidoscope万花筒 of things to draw from.
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确切地说,千变万化的东西作为我的声音源泉
15:49
So all of my performances演出 are based基于 on entirely完全 what I experience经验,
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因此,我所有的表演都基于我的一些经历
15:55
and not by learning学习 a piece of music音乐, putting on someone有人 else's别人的 interpretation解释 of it,
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学会一段音乐,不是加入别人的理解
15:59
buying购买 all the CDs光盘 possible可能 of that particular特定 piece of music音乐, and so on and so forth向前.
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或是研究一些与那段音乐有关的光盘,等等等等
16:04
Because that isn't giving me enough足够 of something that is so raw生的 and so basic基本,
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因为那样不会让我接触到最原始的东西
16:10
and something that I can fully充分 experience经验 the journey旅程 of.
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那种让我可以完全感受过程的东西
16:16
So it may可能 be that, in certain某些 halls大厅, this dynamic动态 may可能 well work. (Music音乐)
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所以很有可能,在某些演奏厅里,这样的强弱力度会很不错
16:34
It may可能 be that in other halls大厅, they're simply只是 not going to experience经验 that
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可能在其他地方,人们肯能一点也不会有那样的感受了
16:38
at all and so therefore因此, my level水平 of soft柔软的,
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因此,我发出的轻声,
16:41
gentle温和 playing播放 may可能 have to be ... (Music音乐)
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柔和的声音可能是这样的
17:08
Do you see what I mean? So, because of this explosion爆炸 in access访问 to sound声音,
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明白我的意思了吗? 因此,就因为获取声音的这个特别因素
17:15
especially特别 through通过 the deaf community社区,
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特别是对于聋人群体来说
17:17
this has not only affected受影响 how music音乐 institutions机构,
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这不仅仅影响了聋人音乐学院
17:22
how schools学校 for the deaf treat对待 sound声音 -- and not just as a means手段 of therapy治疗 --
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处理声音的方式。 同时也不仅仅是治疗的一种方式而已
17:28
although虽然 of course课程, being存在 a participator参加者 of music音乐,
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当然,作为一个音乐的参与者
17:31
that definitely无疑 is the case案件 as well.
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我完全同意这样的观点
17:34
But it's meant意味着 that acousticians声学专家 have had to really think about the types类型 of halls大厅
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但这意味着,声学工作者需要去仔细考虑一下演奏厅的类型
17:41
they put together一起. There are so few少数 halls大厅 in this world世界
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他们所选择的。 在这个世界上,很少有演奏厅
17:46
that actually其实 have very good acoustics声学,
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有很棒的音响效果
17:50
dare I say. But by that I mean where you can absolutely绝对 do anything you imagine想像.
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我敢说。 但即便如此,你仍然可以展开想象的翅膀,去做任何事
17:56
The tiniest最小的, softest柔软的, softest柔软的 sound声音 to something that is so broad广阔,
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最微小,最轻柔的声音对某些东西来说或许它很广阔
18:01
so huge巨大, so incredible难以置信! There's always something --
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很巨大,无法想象。 总有一些东西
18:06
it may可能 sound声音 good up there, may可能 not be so good there.
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在这儿或许听着很不错,在那儿了又或许不那么好
18:08
May可能 be great there, but terrible可怕 up there.
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在那儿或许很棒,但在上边却糟糕透顶
18:10
Maybe terrible可怕 over there, but not too bad there, etc等等., etc等等.
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在那儿简直是个噩梦,但在这儿听着还不错呢 ,等等等等
18:14
So to find an actual实际 hall大厅 is incredible难以置信
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所以找到一个真正意义上合适的演奏大厅是不可能的
18:19
-- for which哪一个 you can play exactly究竟 what you imagine想像,
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像你想象到的那样的效果
18:23
without it being存在 cosmetically美容 enhanced增强.
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并非表面上的修饰和放大
18:26
And so therefore因此, acousticians声学专家 are actually其实 in conversation会话 with people who are
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因此,事实上,声音工作者是在和一些
18:33
hearing听力 impaired受损, and who are participators参与者 of sound声音.
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听力受损的人们探讨这个问题,事实上他们也是声音的参与者
18:39
And this is quite相当 interesting有趣.
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这一点其实很有趣
18:41
I cannot不能, you know, give you any detail详情 as far as what is actually其实 happening事件
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我还不能透露目前的进展如何
18:47
with those halls大厅, but it's just the fact事实 that they are going to a group of people
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关于演奏厅的效果,但意义重大的是,他们正向这样一群人寻求帮助
18:53
for whom so many许多 years年份 we've我们已经 been saying,
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多年来我们常常议论的这样一群人
18:57
"Well, how on Earth地球 can they experience经验 music音乐? You know, they're deaf."
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“瞧,到底他们怎样感知音乐呢?要知道,他们可是失聪的。”
19:00
We just -- we go like that, and we imagine想像 that that's what deafness is about.
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我们一直这样,我们想象着聋人应该是怎样的
19:04
Or we go like that, and we imagine想像 that's what blindness失明 is about.
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或者我们也这样,我们想象着失明的人应该是怎样的
19:06
If we see someone有人 in a wheelchair轮椅, we assume承担 they cannot不能 walk步行.
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当我们看到有人坐在轮椅上,我们就认为他们不会走路
19:11
It may可能 be that they can walk步行 three, four, five steps脚步. That, to them, means手段 they can walk步行.
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或许,事实上他们可以走上好几步。 而这,对他们来说,意味着
19:18
In a year's年份 time, it could be two extra额外 steps脚步.
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或许一年以后,他们可以一次多走两步
19:22
In another另一个 year's年份 time, three extra额外 steps脚步.
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再过一年,他们可以多走三步
19:25
Those are hugely巨大 important重要 aspects方面 to think about.
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这其实是很值得好好思考的地方
19:30
So when we do listen to each other,
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因此,当我们真正彼此倾听的时候
19:34
it's unbelievably令人难以置信 important重要 for us to really test测试 our listening skills技能,
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我们应该先测测自己倾听的本领
19:42
to really use our bodies身体 as a resonating共鸣 chamber, to stop the judgment判断.
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真正地把我们的身体作为共鸣腔。 停止表面的判断
19:47
For me, as a musician音乐家 who deals交易 with 99 percent百分 of new music音乐,
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对我来说,作为一个99%都在与新音乐打交道的音乐家
19:51
it's very easy简单 for me to say, "Oh yes, I like that piece.
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要说出“噢,对,我喜欢这首。
19:54
Oh no, I don't like that piece." And so on.
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噢,不,我不喜欢那首。”等等这样的话是很容易的事
19:56
And you know, I just find that I have to give those pieces of music音乐 real真实 time.
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但我发现我应该给与那些音乐更多时间的关注
20:02
It may可能 be that the chemistry化学 isn't quite相当 right between之间 myself and that particular特定 piece of music音乐,
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有可能,仅仅是我和那首歌之间并没有很好的化学反应
20:07
but that doesn't mean I have the right to say it's a bad piece of music音乐.
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但这并不代表着我有权利评价,这不是首好曲子
20:12
And you know, it's just one of the great things about being存在 a musician音乐家,
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其实,这是作为音乐家感觉最棒的一点
20:17
is that it is so unbelievably令人难以置信 fluid流体.
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是种让人难以想象的液体
20:21
So there are no rules规则, no right, no wrong错误, this way, that way.
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因此,没有规则,没有对错,没有这样那样的方式
20:25
If I asked you to clap -- maybe I can do this.
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如果我让大家发出拍击声,或许我可以这么做
20:30
If I can just say, "Please clap and create创建 the sound声音 of thunder."
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如果我说:“请大家发出拍击声。” 发出打雷般的声音
20:36
I'm assuming假设 we've我们已经 all experienced有经验的 thunder.
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假设大家都知道打雷是怎样的声音
20:39
Now, I don't mean just the sound声音;
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现在,我说的不是声音本身
20:41
I mean really listen to that thunder within yourselves你自己.
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我所说的意味着真正地全身心地去听雷声
20:46
And please try to create创建 that through通过 your clapping拍手. Try. Just -- please try.
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然后通过拍击发出打雷般的声音,请大家试一试
20:51
(Applause掌声)
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(鼓掌)
20:58
Very good! Snow. Snow. Have you ever heard听说 snow?
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很好!那么下雪的声音呢,大家听过吗?
21:08
Audience听众: No.
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观众:没有
21:09
Evelyn伊夫林 GlennieGlennie: Well then, stop clapping拍手. (Laughter笑声) Try again.
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Evelyn Glennie:那么,停下来吧。(笑声)再试一试
21:15
Try again. Snow.
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试一试 ,下雪的声音
21:21
See, you're awake苏醒.
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看吧,大家睡醒了
21:23
Rain. Not bad. Not bad.
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下雨的声音呢? 还不错,还不错
21:32
You know, the interesting有趣 thing here, though虽然, is that I asked a group of kids孩子
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大家知道吗,其实很有意思的是,我曾经也让一群孩子
21:36
not so long ago exactly究竟 the same相同 question.
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不久以前做过完全一样的事情
21:40
Now -- great imagination想像力, thank you very much.
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现在,非常好的想象力,谢谢大家
21:44
However然而, not one of you got out of your seats to think,
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然而,你们中没有一个人离开座位去想一想
21:47
"Right! How can I clap? OK, maybe ... (Claps拍手)
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“好,该怎样发出拍击声呢?好的,或许......
21:52
Maybe I can use my jewelry首饰 to create创建 extra额外 sounds声音.
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或许我可以用随身的配饰去创造些不一样的声音
21:55
Maybe I can use the other parts部分 of my body身体 to create创建 extra额外 sounds声音."
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又或许我可以用身体的其他部位发出一些其他声音
21:59
Not a single one of you thought about clapping拍手 in a slightly different不同 way
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没有一个人尝试用些许不一样的方式发出拍击声
22:04
other than sitting坐在 in your seats there and using运用 two hands.
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除了坐在座位上,拍动自己的双手
22:08
In the same相同 way that when we listen to music音乐,
236
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当我们听音乐其实也是同样的道理
22:10
we assume承担 that it's all being存在 fed美联储 through通过 here.
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我们以为我们只能通过这里感受它
22:14
This is how we experience经验 music音乐. Of course课程 it's not.
238
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这就是我们如何感受音乐。 当然事实并非如此
22:18
We experience经验 thunder -- thunder, thunder. Think, think, think.
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我们感受雷声——雷声,雷声,想一想
22:22
Listen, listen, listen. Now -- what can we do with thunder?
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听一听 现在,我们怎样处理雷声呢?
22:29
I remember记得 my teacher老师. When I first started开始, my very first lesson,
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我记得我的一位老师,当我开始学习音乐的时候,我最早的课程
22:34
I was all prepared准备 with sticks, ready准备 to go.
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我准备好了鼓棒,信心满满
22:38
And instead代替 of him saying, "OK, Evelyn伊夫林, please, feet slightly apart距离,
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然而,他却说:“好的,Evelyn ,双脚略微分开,
22:43
arms武器 at a more-or-less或多或少 90 degree angle角度, sticks in a more-or-less或多或少 V shape形状,
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双臂大约成90度,保持鼓棒成大约v字形
22:49
keep this amount of space空间 here, etc等等.
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保持这样的空间,等等
22:52
Please keep your back straight直行, etc等等., etc等等., etc等等." --
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把背挺直,等等等等”
22:54
where I was probably大概 just going to end结束 up absolutely绝对 rigid死板, frozen冻结的,
247
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当时,最后我变得很僵硬,像被冻住了一样
22:58
and I would not be able能够 to strike罢工 the drum,
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我也很可能不能学会敲鼓
23:00
because I was thinking思维 of so many许多 other things -- he said,
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因为我一直在想着其他的事情,他对我说:
23:02
"Evelyn伊夫林, take this drum away for seven days, and I'll see you next下一个 week."
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“Evelyn,把这个鼓带回去七天,我下周再来看你。”
23:07
So, heavens! What was I to do? I no longer required需要 the sticks;
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我的天哪!我该怎么做呢?我不能再要拿鼓棒了
23:12
I wasn't allowed允许 to have these sticks.
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老师不允许我用这些鼓棒了
23:14
I had to basically基本上 look at this particular特定 drum,
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我只能看着这个鼓
23:18
see how it was made制作, what these little lugs did, what the snares网罗 did.
254
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研究一下它是怎么做成的,小把手是做什么用的,响弦有是干什么的
23:23
Turned转身 it upside上边 down, experimented试验 with the shell贝壳, experimented试验 with the head.
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把它翻过来,试试它的外壳,它的鼓面
23:30
Experimented试验 with my body身体, experimented试验 with jewelry首饰,
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用我的身体尝试敲打他,用我的配饰
23:36
experimented试验 with all sorts排序 of things.
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用一切可以用的东西尝试
23:48
And of course课程, I returned with all sorts排序 of bruises瘀伤 and things like that --
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当然,结果是归还的时候,我伤痕累累
23:51
but nevertheless虽然, it was such这样 an unbelievable难以置信的 experience经验,
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不过,这是一次非常特别的经历
23:56
because then, where on Earth地球 are you going to experience经验 that in a piece of music音乐?
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因为那段经历,在一段音乐中,究竟在哪里你能有那样的感受呢
24:01
Where on Earth地球 are you going to experience经验 that in a study研究 book?
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在一本教科书中,究竟在哪里你能有那样的感受呢?
24:05
So we never, ever dealt处理 with actual实际 study研究 books图书.
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因此,我们从来没有真正地在研究教科书上的东西
24:08
So for example, one of the things that we learn学习
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举个例子,我们曾经学过一种演奏方法
24:11
when we are dealing交易 with being存在 a percussion打击乐器 player播放机, as opposed反对 to a musician音乐家,
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作为一个打击乐演奏家,而并非音乐家,当我们处理音乐的时候
24:17
is basically基本上 straightforward直截了当 single stroke行程 rolls劳斯莱斯.
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就是最基本的单击滚奏(专业术语)
24:24
Like that. And then we get a little faster更快 and a little faster更快 and a little faster更快.
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像这样 然后快一些,再快一些,再快一些
24:31
And so on and so forth向前. What does this piece require要求?
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诸如此类 这段该怎样呢?
24:34
Single stroke行程 rolls劳斯莱斯. So why can't I then do that whilst同时 learning学习 a piece of music音乐?
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单击滚奏。 那么为什么我不可以在学一段音乐的首用这种手法呢?
24:42
And that's exactly究竟 what he did.
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那正是他所做的
24:45
And interestingly有趣, the older旧的 I became成为, and when I became成为 a full-time全职 student学生
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有意思的是,随着年龄的增长,当我成为了专业学生以后
24:50
at a so called "music音乐 institution机构," all of that went out of the window窗口.
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在所谓的“音乐学院”,那些疑惑都消失了
24:56
We had to study研究 from study研究 books图书.
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我们开始学习书本
24:58
And constantly经常, the question, "Well, why? Why? What is this relating有关 to?
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“为什么?为什么?学这些有什么用呢?”这些问题常常出现在我的脑海里
25:02
I need to play a piece of music音乐." "Oh, well, this will help your control控制!"
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我需要去演奏音乐。“噢,学习这些会帮住你学会控制!”
25:06
"Well, how? Why do I need to learn学习 that? I need to relate涉及 it to a piece of music音乐.
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那么,怎么用它学会控制?为什么我需要学这些?我需要把它和音乐联系起来
25:11
You know. I need to say something.
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你知道,我需要说些什么
25:14
"Why am I practicing paradiddlesparadiddles?
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为什么我要练习复合式打点
25:20
Is it just literally按照字面 for control控制, for hand-stick手棍 control控制? Why am I doing that?
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真的是为了很好地控制吗?为了控制鼓棒?为什么我要这么做?
25:25
I need to have the reason原因,
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我需要知道答案
25:28
and the reason原因 has to be by saying something through通过 the music音乐."
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而答案需要通过音乐告知
25:33
And by saying something through通过 music音乐, which哪一个 basically基本上 is sound声音,
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通过音乐,实际上就是通过声音
25:38
we then can reach达到 all sorts排序 of things to all sorts排序 of people.
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这样以来,我们可以把所有的东西传递给所有的人
25:43
But I don't want to take responsibility责任 of your emotional情绪化 baggage行李.
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但我不想为大家的情绪包袱负责
25:46
That's up to you, when you walk步行 through通过 a hall大厅.
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这由你决定,当你走进一座演奏大厅
25:48
Because that then determines确定 what and how we listen to certain某些 things.
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因为这样,决定了我们怎样去听一些东西
25:54
I may可能 feel sorrowful悲伤, or happy快乐, or exhilarated兴奋, or angry愤怒 when I play
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我可能觉得很悲伤,或者很高兴,或者很雀跃,或者很生气,当我演奏
26:00
certain某些 pieces of music音乐, but I'm not necessarily一定
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某段音乐的时候,但我不应该
26:02
wanting希望 you to feel exactly究竟 the same相同 thing.
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让大家感受到我的这种情绪
26:06
So please, the next下一个 time you go to a concert音乐会,
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因此,下次当大家去演奏会的时候
26:09
just allow允许 your body身体 to open打开 up, allow允许 your body身体 to be this resonating共鸣 chamber.
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让自己的身体打开,让它成为你的共鸣腔
26:16
Be aware知道的 that you're not going to experience经验 the same相同 thing as the performer演员 is.
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确定你不会受到演奏者情绪的影响
26:21
The performer演员 is in the worst最差 possible可能 position位置 for the actual实际 sound声音,
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演奏者可能正位于声音最不好的位置
26:25
because they're hearing听力 the contact联系 of the stick on the drum,
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他们听到的是鼓棒碰触鼓面的声音
26:31
or the mallet on the bit of wood, or the bow on the string, etc等等.,
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或是木槌碰触木块的声音,又或是弓碰触弦的声音,等等
26:35
or the breath呼吸 that's creating创建 the sound声音 from wind and brass黄铜.
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或是为了发出声音而吹动管乐器的呼吸声
26:39
They're experiencing经历 that rawness半生不熟 there.
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他们感受的就是那些最原始的声音
26:41
But yet然而 they're experiencing经历 something so unbelievably令人难以置信 pure,
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然而,他们感受到的恰巧就是那种最纯粹的声音
26:45
which哪一个 is before the sound声音 is actually其实 happening事件.
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其实是声音发出前的一瞬间的感觉
26:49
Please take note注意 of the life of the sound声音 after the actual实际 initial初始 strike罢工,
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请记住声音从一开始敲打到产生的整个过程
26:55
or breath呼吸, is being存在 pulled. Just experience经验 the whole整个 journey旅程 of that sound声音
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或是,从呼吸开始 试着感受声音产生的整个旅程
27:02
in the same相同 way that I wished希望 I'd experienced有经验的 the whole整个 journey旅程
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就如同我自己度过了整个旅程一般
27:06
of this particular特定 conference会议, rather than just arriving到达 last night.
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今天的这次会面,尽管昨天晚上才到达这里
27:11
But I hope希望 maybe we can share分享 one or two things as the day progresses进展.
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我希望我们可以有机会在以后的时间里交流心得
27:15
But thank you very much for having me!
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非常感谢大家的聆听与关注
27:18
(Applause掌声)
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(鼓掌)
Translated by Danhong Wang
Reviewed by Chunlei Chang

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ABOUT THE SPEAKER
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.

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. 

More profile about the speaker
Evelyn Glennie | Speaker | TED.com