I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
Nisam potpuno sigurna želim li vidjeti bubanj u devet, ili koliko već sati ujutro.
(Laughter)
U svakom slučaju, sjajno je vidjeti ovako popunjenu dvoranu;
But anyway, it's just great to see such a full theater, and really, I must thank Herbie Hancock and his colleagues for such a great presentation.
i stvarno se moram zahvaliti Herbiu Hancocku i njegovim kolegama na zaista izvrsnoj prezentaciji. (Pljesak) Jedna od zanimljivih stvari,
(Applause)
One of the interesting things, of course, is the combination of that raw hand on the instrument and technology, and what he said about listening to our young people.
naravno, jest kombinacija sirove ruke na instrumentu i tehnologije, i naravno ono što je rekao o slušanju naših mladih ljudi. Naravno, moj posao je u cijelosti u slušanju,
Of course, my job is all about listening. And my aim, really, is to teach the world to listen. That's my only real aim in life. And it sounds quite simple, but actually, it's quite a big, big job. Because you know, when you look at a piece of music, for example, if I just open my little motorbike bag -- we have here, hopefully, a piece of music that is full of little black dots on the page. And, you know, we open it up ... And I read the music. So technically, I can actually read this. I will follow the instructions, the tempo markings, the dynamics. I will do exactly as I'm told. And so therefore, because time is short, if I just played you, literally, the first, maybe, two lines or so -- It's very straightforward; there's nothing too difficult about the piece. But here, I'm being told that the piece of music is very quick. I'm being told where to play on the drum. I'm being told which part of the stick to use. And I'm being told the dynamic. And I'm also being told that the drum is without snares. Snares on, snares off. So therefore, if I translate this piece of music, we have this idea.
i moj je cilj, u biti, naučiti svijet slušanju. To je moj jedini pravi cilj u životu. I to zvuči prilično jednostavno, ali zapravo to je prilično velik posao. Jer, znate, kad pogledate glazbeno djelo -- na primjer, samo da otvorim moju malu motorističku torbu -- tu imamo, nadam se, glazbeno djelo koje je puno malih crnih točaka na stranici. I tako, rastvorimo ga i ja pročitam glazbu. Tehnički gledano, stvarno ovo mogu pročitati. Slijedit ću upute, oznake tempa, dinamiku. Radit ću točno kako mi je rečeno. I eto, kako sam u nedostatku vremena, mogla bih vam odsvirati doslovno prva dva, tri retka. Sve kao po traci. Ništa preteško. Ali ovdje mi je rečeno da je ovo djelo vrlo brzo. Rečeno mi je gdje na bubnju svirati. Rečeno mi je koji dio palice trebam koristiti. I rečeno mi je koja je dinamika. I također mi je rečeno da je bubanj bez snara. Snar podignut, snar spušten. I tako, ako prevedem ovo djelo, imamo ovu ideju. (Glazba)
(Drum sounds)
(Drum sounds end)
I tako dalje. Moja karijera bi vjerojatno trajala oko pet godina.
And so on. My career would probably last about five years.
(Laughter)
Međutim, što kao glazbenica trebam učiniti jest sve ono što nije u notama.
However, what I have to do as a musician is do everything that is not on the music; everything that there isn't time to learn from a teacher, or to talk about, even, from a teacher. But it's the things you notice when you're not actually with your instrument that, in fact, become so interesting, and that you want to explore through this tiny, tiny surface of a drum. So there, we experience the translation. Now we'll experience the interpretation.
Sve ono za što nema vremena za naučiti od učitelja, čak ni za razgovor o tome s učiteljem. Zapravo, stvari koje primjećujete kad niste za svojim instrumentom su u biti one koje postaju tako zanimljivima, i koje želite istraživati preko ove sićušne, tanke površine bubnja. I tako, doživjeli smo prijevod. A sad - interpretaciju. (Glazba) (Pljesak)
(Drum sounds)
(Drum sounds end)
(Applause)
Sad će moja karijera možda trajati i malo duže!
Now my career may last a little longer.
(Laughter)
Ali na neki način, znate, to je isto kad ja pogledam vas i vidim
But in a way, you know, it's the same if I look at you and I see a nice, bright young lady with a pink top on. I see that you're clutching a teddy bear, etc., etc. So I get a basic idea as to what you might be about, what you might like, what you might do as a profession, etc., etc. However, that's just the initial idea I may have that we all get when we actually look and we try to interpret. But actually it's so unbelievably shallow. In the same way, I look at the music; I get a basic idea; I wonder what technically might be hard, or, you know, what I want to do. Just the basic feeling.
finu vedru mladu damu u rozoj majici. Vidim kako stišćete medvjedića, itd., itd. I tako stičem okvirnu ideju o tome kakvi ste, što bi vam se moglo sviđati, kakvim bi se zanimanjem mogli baviti, itd., itd. Međutim, to je samo, znate, početna ideja koju bi mogla imati, svi mogli imati kad zaista pogledamo, i pokušamo interpretirati, ali to je, zapravo, nevjerojatno plitko. Na isti način, pogledam note; dobijem osnovnu ideju; zapitam se što bi tehnički moglo biti teško, ili, znate, što želim učiniti. Samo osnovni osjećaj.
However, that is simply not enough. And I think what Herbie said: please listen, listen. We have to listen to ourselves, first of all. If I play, for example, holding the stick -- where literally I do not let go of the stick --
Ipak, to jednostavno nije dovoljno. I sjetim se što je Herbie rekao -- molim vas, slušajte, slušajte. Moramo prvenstveno slušati sebe. Ako sviram, primjerice, držeći palicu -- gdje doslovno ne ispuštam palicu --
(Drum sound)
you'll experience quite a lot of shock coming up through the arm. And you feel really quite -- believe it or not -- detached from the instrument and from the stick, even though I'm actually holding the stick quite tightly.
osjeti ću prilično puno šoka kako prolazi gore kroz ruku. I osjetit ću se -- vjerovali ili ne -- odvojeno od instrumenta i od palice, iako palicu držim prilično čvrsto.
(Drum sound)
By holding it tightly, I feel strangely more detached. If I just simply let go and allow my hand, my arm, to be more of a support system, suddenly --
Držeći je čvrsto, čudno je da se osjećam više odvojenom. Ako se opustim i dozvolim svojoj šaci, mojoj ruci, da budu više kao oslonac, odjednom imam više dinamike s manje napora. Mnogo više.
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
I jednostvano osjetim, konačno, s palicom i bubnjem kao da smo jedno.
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
A činim mnogo, mnogo manje. I tako na isti način kao što mi treba više vremena s instrumentom,
So in the same way that I need time with this instrument, I need time with people in order to interpret them. Not just translate them, but interpret them. If, for example, I play just a few bars of a piece of music for which I think of myself as a technician -- that is, someone who is basically a percussion player --
treba mi vremena i s ljudima kako bi ih interpretirala. Ne samo prevela, već interpretirala ih. Ako, primjerice, odsviram samo nekoliko taktova glazbenog djela, pritom zamišljajući sebe kao tehničarku -- odnosno, kao nekoga tko je u osnovi perkusionistica ... (Glazba)
(Marimba sounds)
(Marimba sounds end)
I tako dalje. A ako zamislim sebe kao o glazbenicu ... (Glazba)
And so on, if I think of myself as a musician --
(Marimba sounds)
(Marimba sounds end)
And so on. There is a little bit of a difference there that is worth just --
I tako dalje. Postoji tu mala razlika o kojoj vrijedi -- (Pljesak)
(Applause)
-- razmisliti.
thinking about.
And I remember when I was 12 years old, and I started playing timpani and percussion, and my teacher said, "Well, how are we going to do this? You know, music is about listening." And I said, "Yes, I agree with that, so what's the problem?" And he said, "Well, how are you going to hear this? How are you going to hear that?" And I said, "Well, how do you hear it?" He said, "Well, I think I hear it through here." And I said, "Well, I think I do too, but I also hear it through my hands, through my arms, cheekbones, my scalp, my tummy, my chest, my legs and so on."
I sjećam se kad sam imala 12 godina i počela svirati timpane i perkusije, kad je moj učitelj rekao: "Dakle, kako ćemo ovo izvesti? Kao što znaš, bit glazbe je u slušanju." A ja sam rekla: "Da, slažem se s tim. I u čemu je problem?" A on je odgovorio: "Pa kako ćeš čuti ovo? Kako ćeš čuti ono?" A ja sam rekla: "Pa kako Vi to čujete?" Odgovorio je: "Pa, mislim da čujem kroz ovo ovdje." Rekla sam: "Pa, mislim da i ja također -- ali također čujem i kroz moje šake, kroz moje ruke, jagodice, tjeme, stomak, moj grudni koš, moje noge i tako dalje."
And so we began our lessons every single time tuning drums, in particular, the kettle drums, or timpani to such a narrow pitch interval, so something like --
I tako smo započinjali svaki naš sat naštimavajući bubnjeve -- posebice, timpane -- na toliko uski interval visine zvuka, nešto poput
(Marimba sounds)
that of a difference. Then gradually:
ovolike razlike. Zatim, postupno ... i postupno ...
(Marimba sounds)
And gradually:
(Marimba sounds)
i nevjerojatno je to da kad otvorite svoje tijelo
And it's amazing that when you do open your body up, and open your hand up to allow the vibration to come through, that in fact the tiny, tiny difference --
i svoje ruke kako bi propustili vibracije da prođu, da se i ta sitna, sitna razlika ...
(Marimba sounds)
može osjetiti i s najsitnijim dijelom vašeg prsta, tu.
can be felt with just the tiniest part of your finger, there.
I tada bi radili slijedeće: ja bih stavila svoje ruke na zid
And so what we would do is that I would put my hands on the wall of the music room, and together, we would "listen" to the sounds of the instruments, and really try to connect with those sounds far, far more broadly than simply depending on the ear. Because of course, the ear is subject to all sorts of things. The room we happen to be in, the amplification, the quality of the instrument, the type of sticks --
glazbene sobe i zajedno bismo "slušali" zvukove instrumenata, istinski pokušavajući povezati se s tim zvukovima mnogo, mnogo šire nego samo oslanjajući se na uho. Jer, naravno, uho je izloženo raznim stvarima. Prostorija u kojoj se nalazimo, pojačanje, kvaliteta instrumenata, vrsta palica ... itd., itd.
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
Sve su one različite.
(Marimba sounds)
(Marimba sounds end)
Ista količina težine, ali različite boje zvukova.
Same amount of weight, but different sound colors. And that's basically what we are; we're just human beings, but we all have our own little sound colors, as it were, that make up these extraordinary personalities and characters and interests and things.
I to je u osnovi ono što jesmo. Mi smo samo ljudska bića, ali svi imamo naše vlastite male boje zvuka, koje kao da izgrađuju ove iznimne osobnosti i karaktere i interese i stvari.
And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, "Well, no, we won't accept you, because we haven't a clue, you know, of the future of a so-called 'deaf musician.'" And I just couldn't quite accept that. And so therefore, I said to them, "Well, look, if you refuse -- if you refuse me through those reasons, as opposed to the ability to perform and to understand and love the art of creating sound -- then we have to think very, very hard about the people you do actually accept." And as a result, once we got over a little hurdle, and having to audition twice, they accepted me. And not only that, what had happened was that it changed the whole role of the music institutions throughout the United Kingdom.
Kad sam odrasla, bila sam na audiciji za Kraljevsku glazbenu akademiju u Londonu, i oni su rekli: "Ne, nećemo Vas primiti, jer nemamo pojma, znate, kakva je budućnost tzv. 'gluhog' glazbenika." Ja to jednostavno nisam mogla prihvatiti. I zato sam im rekla: "Pa, vidite, ukoliko odbijate -- ukoliko me odbijate zbog tih razloga, a ne zbog sposobnosti izvođenja i razumijevanja i ljubavi prema umjetnosti stvaranja zvuka -- onda moramo razmisliti vrlo ozbiljno o ljudima koje zapravo primate." I kao rezultat -- kad smo već prebrodili prepreke, i poslije druge audicije --- primili su me. I ne samo to -- ono što se dogodilo jest da je to promijenilo cijelu ulogu glazbenih institucija diljem Ujedinjenog Kraljevstva.
Under no circumstances were they to refuse any application whatsoever on the basis of whether someone had no arms, no legs -- they could still perhaps play a wind instrument if it was supported on a stand. No circumstances at all were used to refuse any entry. And every single entry had to be listened to, experienced, and then, based on the musical ability, then that person could either enter or not. And so therefore, this in turn meant that there was an extremely interesting bunch of students who arrived in these various music institutions, and I have to say, many of them now in the professional orchestras throughout the world. The interesting thing about this as well, though --
Pod nikakvim uvjetima nisu smjeli odbiti ni jednu jedinu prijavu na osnovi toga ima li netko ili nema ruke, noge -- i dalje bi moguće mogli svirati puhački instrument ukoliko bi bio na stalku. Baš nikakve okolnosti nisu korištene kako bi se odbila bilo čija prijava. I svaki pojedini kandidat morao je biti saslušan, doživljen i zatim na osnovi glazbenih sposobnosti -- ta bi osoba mogla biti primljena ili ne. I stoga, ispalo je da se pojavila izuzetno zanimljiva skupina studenata koja je pristigla u te razne glazbene institucije. I moram reći, mnogi od njih su sad u profesionalnim orkestrima diljem svijeta. Ono što je još zanimljivo u vezi ovoga, doduše -- (Pljesak)
(Applause)
is quite simply that not only were people connected with sound -- which is basically all of us -- we well know that music really is our daily medicine.
jest jednostavno to da ne samo da su ljudi bili povezani sa zvukom -- što smo u osnovi svi mi, i dobro znamo da je glazba zaista naš svakodnevni lijek. Kažem "glazba", ali u biti mislim na "zvuk".
I say "music," but actually I mean "sound." Because some of the extraordinary things I've experienced as a musician -- when you may have a 15-year-old lad who has got the most incredible challenges, who may not be able to control his movements, who may be deaf, who may be blind, etc., etc. -- suddenly, if that young lad sits close to this instrument, and perhaps even lies underneath the marimba, and you play something that's so incredibly organ-like, almost -- I don't really have the right sticks, perhaps -- but something like this -- let me change --
Jer znate, doživjela sam neke izvanredne stvari kao glazbenica, kad imate 15-godišnjeg mladića koji pred sobom ima najzahtjevnije izazove, koji možda nije u mogućnosti kontrolirati svoje pokrete, koji je možda gluh, možda slijep, itd., itd. -- i odjednom, ako taj mladić sjedne blizu instrumenta, ili čak legne ispod marimbe, a vi svirate nešto što izuzetno podsjeća na orgulje, skoro -- Nemam baš odgovarajuće prave palice, možda -- ali nešto slično ovome. Samo da promijenim. (Glazba)
(Soft marimba sounds)
(Soft marimba sounds end)
Something that's so unbelievably simple -- but he would be experiencing something that I wouldn't be, because I'm on top of the sound. I have the sound coming this way. He would have the sound coming through the resonators. If there were no resonators on here, we would have:
Nešto tako nevjerojatno jednostavno -- ali on bi doživio nešto što ja ne bih mogla, jer ja se nalazim iznad zvuka. Meni zvuk dolazi iz ovog smjera. Njemu bi zvuk dolazio putem rezonatora. Kad ovdje ne bi bilo rezonatora, imali bismo ... (Glazba) Tako bi on imao punoću zvuka koju vi iz prvih nekoliko redova
(Marimba sounds)
So he would have a fullness of sound that those of you in the front few rows wouldn't experience, those of you in the back few rows wouldn't experience, either. Every single one of us, depending on where we're sitting, will experience this sound quite, quite differently. And of course, being the participator of the sound, and that is, starting from the idea of what type of sound I want to produce, for example, this sound:
ne biste doživjeli, niti biste je i vi u zadnjih nekoliko redova doživjeli. Svatko od nas, ovisno o tome gdje sjedimo, doživjet će ovaj zvuk prilično, prilično različito. I naravno, kao sudionica zvuka, tj. počevši od ideje kakav zvuk želim proizvesti -- primjerice, ovaj zvuk. Možete li čuti bilo što?
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
Točno tako. Jer čak ga i ne dodirujem. Ali ipak, stičemo osjećaj da se nešto događa.
(Laughter)
Na isti način kad vidim stabla kako se povijaju,
But yet, we get the sensation of something happening. In the same way that when I see a tree moves, then I imagine that tree making a rustling sound. Do you see what I mean? Whatever the eye sees, then there's always sound happening. So there's always, always that huge -- I mean, just this kaleidoscope of things to draw from.
tad zamislim to stablo kako stvara zvuk šuštanja. Shvaćate li što govorim? Štogod oči vide, tada se uvijek događa i zvuk. Tako da uvijek, uvijek postoji ta golema -- hoću reći, upravo ovaj kaleidoskop stvari iz kojih možemo izvlačiti. I tako su sve moje izvedbe zasnovane u potpunosti na onom što doživljavam,
So all of my performances are based on entirely what I experience, and not by learning a piece of music, putting on someone else's interpretation of it, buying all the CDs possible of that particular piece of music, and so on and so forth, because that isn't giving me enough of something that is so raw and so basic, and something that I can fully experience the journey of. So it may be that, in certain halls, this dynamic may well work.
a ne na učenju glazbenog djela, preslikavanju nečije tuđe interpretecije, kupnji svih mogućih CD-a s tim pojedinim glazbenim djelom, i tako dalje. Jer to mi ne daje dovoljno nečega što je toliko sirovo i tako osnovno, i nečega čije putovanje mogu doživjeti u svojoj punini. Može dogoditi da, u nekim dvoranama, ova dinamika može dobro uspjeti. (Glazba) Može se dogoditi da u drugim dvoranama, ljudi jednostavno to neće doživjeti
(Soft marimba sounds)
(Soft marimba sounds end)
uopće i stoga, moja razina mekanog,
It may be that in other halls, they're simply not going to experience that at all, and so therefore, my level of soft, gentle playing may have to be --
nježnog sviranja će možda morati biti ... (Glazba) Shvaćate li što mislim? Tako, zbog ove eksplozije u pristupu zvuku,
(Marimba sounds)
(Marimba sounds end)
Do you see what I mean? So, because of this explosion in access to sound, especially through the Deaf community, this has not only affected how music institutions, how schools for the deaf treat sound, and not just as a means of therapy -- although, of course, being a participator of music, that definitely is the case as well -- but it's meant that acousticians have had to really think about the types of halls they put together. There are so few halls in this world that actually have very good acoustics, dare I say. But by that I mean, where you can absolutely do anything you imagine. The tiniest, softest, softest sound to something that is so broad, so huge, so incredible. There's always something: it may sound good up there, may not be so good there; it may be great there, but terrible up there; maybe terrible over there, but not too bad there, etc., etc.
posebice preko zajednice gluhih, ovo nije samo utjecalo na način kako glazbene institucije, kako se škole za gluhe odnose prema zvuku, i ne samo kao sredstvu terapije -- mada naravno, kao sudionica glazbe, to je zasigurno također slučaj. Izgleda da su akustičari zaista morali razmišljati o vrstama dvorana koje su gradili. Postoji tako malo dvorana u svijetu koje zaista imaju vrlo dobru akustiku, usuđujem se reći. S tim mislim na one u kojima možete raditi sve što zaželite. Od najtišeg, najmekanijeg, najmekanijeg zvuka do nečega što je tako široko, tako golemo, tako nevjerojatno! Uvijek postoji nešto -- može dobro zvučati tamo gore, a ne tako dobro tamo. Može biti sjajno tamo, ali užasno tamo. Može biti užasno tamo, a ne tako loše tamo, itd., itd. I tako je pronalaženje određene dvorane nevjerojatno
So to find an actual hall is incredible -- for which you can play exactly what you imagine, without it being cosmetically enhanced. So therefore, acousticians are actually in conversation with people who are hearing impaired, and who are participators of sound. And this is quite interesting. I cannot give you any detail as far as what is actually happening with those halls, but it's just the fact that they are going to a group of people for whom so many years, we've been saying, "Well, how on earth can they experience music? They're deaf." We go like that, and we imagine that's what deafness is about. Or we go like that, and we imagine that's what blindness is about. If we see someone in a wheelchair, we assume they cannot walk. It may be that they can walk three, four, five steps. That, to them, means they can walk. In a year's time, it could be two extra steps. In another year's time, three extra steps.
-- u kojoj možete svirati točno što zamislite, bez kozmetičkog unaprjeđenja. I stoga, akustičari u stvari razgovaraju s ljudima koji su oštećenog sluha, a koji su sudionici glazbe. I to je vrlo zanimljivo. Ja vam ne mogu dati niti jedan detalj o onome što se stvarno događa s tim dvoranama, ali je činjenica da se obraćaju grupi ljudi za koje smo godinama govorili, "Pa, kako oni uopće mogu doživjeti glazbu? Znate, oni su gluhi." Mi samo -- učinimo ovo, i zamislimo da tako izgleda gluhoća. Ili učinimo ovo, i zamislimo da tako izgleda sljepoća. Kad vidimo nekoga u kolicima, pretpostavimo da ne može hodati. Možda mogu napraviti 3-4-5 koraka. To, za njih, znači da mogu hodati. Za godinu dana, mogla bi biti još dva dodatna koraka. Za još godinu dana, tri dodatna koraka. To su izuzetno važni aspekti za razmišljanje.
Those are hugely important aspects to think about. So when we do listen to each other, it's unbelievably important for us to really test our listening skills, to really use our bodies as a resonating chamber, to stop the judgment. For me, as a musician who deals with 99 percent of new music, it's very easy for me to say, "Oh yes, I like that piece. No, I don't like that piece," and so on. And I just find that I have to give those pieces of music real time. It may be that the chemistry isn't quite right between myself and that particular piece of music, but that doesn't mean I have the right to say it's a bad piece of music. And you know, one of the great things about being a musician is that it is so unbelievably fluid. So there are no rules, no right, no wrong, this way, that way.
Zato kad slušamo jedni druge, zaista je važno za nas zaista testirati naše vještine slušanja, kako bi koristili tijela kao rezonantnu komoru, kako bi prestali s osudama. Meni, kao glazbenici koja se susreće s 99% nove glazbe, vrlo je jednostavno kazati: "O, da, sviđa mi se ono djelo. O, ne, ne sviđa mi se ono djelo." I tako dalje. I znate, samo shvatim da moram posvetiti više vremena tim djelima. Može biti da kemija između mene i tog određenog djela nije ona prava, ali to ne znači da imam pravo reći da je to loše glazbeno djelo. Jedna od divnih stvari kad ste glazbenik, jest da ste tako nevjerojatno prilagodljivi. Nema pravila, pravog, niti krivog načina. Ako vas zamolim da zaplješćete -- možda mogu to učiniti. Ako samo kažem: "Molim vas zaplješćite i stvorite zvuk grmljavine." Pretpostavljam da smo svi doživjeli grmljavinu.
If I asked you to clap -- maybe I can do this. If I can just say, "Please clap and create the sound of thunder." I'm assuming we've all experienced thunder. Now, I don't mean just the sound; I mean really listen to that thunder within yourselves. And please try to create that through your clapping. Try, just -- please try.
E sad, ne mislim samo na zvuk; Mislim da stvarno slušate tu grmljavinu u sebi. Pokušajte to stvoriti svojim pljeskanjem, samo pokušajte. (Pljesak) Vrlo dobro! Snijeg. Snijeg. Jeste li ikad čuli snijeg? Publika: ne.
(Loud clapping sounds)
Evelyn Glennie: "Pa onda, prestanite pljeskati." (Smijeh) Pokušajte ponovo.
(Clapping ends)
Pokušajte ponovo. Snijeg.
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
Vidite, budni ste.
Audience: No.
Kiša. Nije loše. Nije loše.
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
Znate, zanimljivo je, međutim, pitala sam grupu djece
(No sound)
See, you're awake.
ne tako davno upravo isto to pitanje.
Rain.
E sad -- odlična mašta, puno vam hvala.
(Light clapping sounds)
EG: (Laughs)
Not bad. Not bad. The interesting thing here, though, is that I asked a group of kids not so long ago exactly the same question. Now -- great imagination, thank you very much. However, not one of you got out of your seats to think, "Right! How can I clap? OK, maybe:
Međutim, nitko od vas nije ustao sa stolice i razmislio, "Hajde! Kako mogu pljeskati? U redu, možda ... (Plješće) Možda bih mogao koristiti svoj nakit za stvaranje dodatnih zvukova. Možda mogu koristiti druge djelove tijela za stvaranje dodatnih zvukova." Nitko nije pomislio pljeskati različito,
(Clapping sounds)
drugačije od sjedenja na sjedištima i korištenja dlanova.
Maybe I can use my jewelry to create extra sounds. Maybe I can use the other parts of my body to create extra sounds." Not a single one of you thought about clapping in a slightly different way other than sitting in your seats there and using two hands. In the same way, when we listen to music, we assume that it's all being fed through here. This is how we experience music. Of course, it's not.
Na isti način kad slušamo glazbu pretpostavljamo da sve to ulazi ovim putem. Tako mi doživljavamo glazbu. Naravno da nije tako. Doživljavamo grmljavinu -- grmljavinu, grmljavinu. Misli, misli, misli. Slušaj, slušaj, slušaj. E sad -- što možemo učiniti s grmljavinom? Sjećam se svojeg učitelja. Kad sam prvi put počela, moj doslovno prvi sat, Bila sam potpuno pripremljena s palicama, spremna krenuti.
We experience thunder, thunder, thunder. Think, think, think. Listen, listen, listen. Now, what can we do with thunder? I remember my teacher, when I first started, my very first lesson, I was all prepared with sticks, ready to go. And instead of him saying, "OK, Evelyn, please, feet slightly apart, arms at a more or less 90-degree angle, sticks in a more or less V shape, keep this amount of space here, etc. Please keep your back straight, etc., etc., etc." -- where I was just probably going to end up absolutely rigid, frozen, and I would not be able to strike the drum because I was thinking of so many other things, he said, "Evelyn, take this drum away for seven days, and I'll see you next week."
I umjesto da je rekao: "U redu, Evelyn, molim, stopala blago razmaknuta, ruke otprilike pod kutem od 90 stupnjeva, palice otprilike u obliku slova V, drži ovaj ovdje razmak, itd. Molim te drži uspravna leđa, itd., itd., itd." -- gdje bih tako vjerojatno ostala potpuno ukočena, smrznuta, i ne bih mogla udariti bubanj, jer mislila bi na tako mnogo drugih stvari -- on je rekao: "Evelyn, ponesi ovaj bubanj na sedam dana i vidjet ćemo se slijedeći tjedan." O, nebesa! Što sam sad trebala raditi? Više mi nisu bile potrebne palice; nije mi ih bilo dozvoljeno imati. Morala sam u biti gledati baš ovaj određeni bubanj, gledati kako je izrađen, čemu ove male drške služe, čemu služi snar.
So -- heavens! What was I to do? I no longer required the sticks. I wasn't allowed to have these sticks. I had to basically look at this particular drum, see how it was made, what these little lugs did, what the snares did. Turned it upside down, experimented with the shell.
Prevrtala sam ga, isprobavala s okvirom, isprobavala s glavom. Isprobavala sa svojim tijelom, isprobavala s nakitom, isprobavala s raznoraznim stvarima. I naravno, vratila sam se sa svakakvim ogrebotinama i sličnim stvarima --
(Drum sounds)
Experimented with the head.
(Drum sounds)
ali unatoč svemu, bilo je to nevjerojatno iskustvo.
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
jer, gdje biste uopće to mogli doživjeti u jednom glazbenom djelu?
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
Gdje biste uopće to mogli doživjeti u udžbeniku?
(Laughter)
I tako se nismo nikad, nikad bavili stvarnim udžbenicima.
But nevertheless, it was such an unbelievable experience, because where on earth are you going to experience that in a piece of music? Where on earth are you going to experience that in a study book? So we never, ever dealt with actual study books. So for example, one of the things that we learn when we are dealing with being a percussion player as opposed to a musician, is basically, straightforward single-stroke rolls.
I tako primjerice, jedna od stvari koje naučimo kad se odnosimo prema bivanju perkusionistom, umjesto glazbenikom, jest najosnovnija serija pojedinačnih udaraca. Ovako. A onda krenemo malo brže i još brže i još malo brže. I tako dalje. Što ovo djelo zahtjeva? Seriju pojedinačnih udaraca. I zašto to ne mogu činiti dok učim glazbeno djelo?
(Drum sounds)
I to je upravo ono što je i on učinio.
Like that, and then we get a little faster --
(Drum sounds)
and a little faster --
(Drum sounds)
and a little faster, and so on and so forth. What does this piece require? Single-stroke rolls.
I što sam postajala starijom, kad sam postala studentica na tzv. "glazbenoj instituciji", sve je to palo u vodu.
(Drum sound)
So why can't I then do that whilst learning a piece of music? And that's exactly what he did. And interestingly, the older I became, and when I became a full-time student at a so-called "music institution," all of that went out of the window. We had to study from study books. And constantly, the question, "Well, why? Why? What is this relating to? I need to play a piece of music." "Well, this will help your control." "Well, how? Why do I need to learn that? I need to relate it to a piece of music. You know, I need to say something.
Morali smo učiti iz udžbenika. Sa stalnim pitanjem, "Pa, zašto? Zašto? Kakve ovo ima veze s bilo čim? Moram odsvirati glazbeno djelo. "Pa, ovo će ti pomoći tvojoj kontroli!" "Kako? Zašto? Moram to povezati s glazbenim djelom. Razumijete. Trebam nešto poručiti. "Zbog čega vježbam paradidle? Je li to doslovno za kontrolu, za kontrolu ruke-palice? Zašto to radim? Potrebno mi je imati razlog,
Why am I practicing paradiddles?
a to je poruka nečega putem glazbe."
(Drum sounds)
A poručivanjem nečega putem glazbe, što je u osnovi zvuk,
Is it just literally for control, for hand-stick control? Why am I doing that? I need to have the reason, and the reason has to be by saying something through the music." And by saying something through music, which basically is sound, we then can reach all sorts of things to all sorts of people. But I don't want to take responsibility of your emotional baggage. That's up to you, when you walk through a hall, because that then determines what and how we listen to certain things. I may feel sorrowful, or happy, or exhilarated, or angry when I play certain pieces of music, but I'm not necessarily wanting you to feel exactly the same thing. So please, the next time you go to a concert, just allow your body to open up, allow your body to be this resonating chamber. Be aware that you're not going to experience the same thing as the performer is.
tek tada možemo doprijeti raznim stvarima do raznih ljudi. Ali ja ne želim preuzeti odgovornost za vaš emocionalni teret. To je na vama, kad uđete u dvoranu. Jer to tada određuje što i kako slušamo određene stvari. Mogu se osjećati tužnom, sretnom, ushićenom, ljutom dok sviram određena djela, ali ne želim nužno da i vi osjećate isto što i ja. I tako molim vas, slijedeći put kad odete na koncert, dozvolite tijelu da bude rezonantna komora. Budite svjesni da nećete doživjeti isto ono što i izvođač. Izvođač je u najgorem mogućem položaju za doživljaj zvuka, jer on čuje kontakt palice s bubnjem, ili udar na komadić drva, ili istezanje žice, itd., ili udah koji stvara zvuk na puhačkim instrumentima.
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
Oni doživljavaju tu sirovost tamo.
(Drum sound)
on the drum, or the mallet on the bit of wood, or the bow on the string, etc., or the breath that's creating the sound from wind and brass. They're experiencing that rawness there. But yet they're experiencing something so unbelievably pure, which is before the sound is actually happening. Please take note of the life of the sound after the actual initial strike, or breath, is being pulled. Just experience the whole journey of that sound in the same way that I wished I'd experienced the whole journey of this particular conference, rather than just arriving last night. But I hope maybe we can share one or two things as the day progresses. But thank you very much for having me!
Ali u isto vrijeme doživljavaju i nešto tako nevjerojatno čisto, prije nego što se zvuk uopće i dogodi. Molim vas primijetite život zvuka poslije prvobitnog udara, ili udaha, kad se izvlači. Samo doživite cijelo putovanje tog zvuka na isti način kao što sam ja željela doživjeti cijelo putovanje baš ove konferencije, umjesto dolaska sinoć. Ali nadam se da ćemo podijeliti neke stvari kako dan bude odmicao. Puno vam hvala što ste me primili! (Pljesak)
(Applause)
(Applause ends)
(Music)
(Music ends)
(Applause)