I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
朝の9時からスネアドラムに お目にかかりたいかは 悩むところですが…
(Laughter)
会場が満員なのは光栄です
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.
ハービー ハンコックと メンバーの演奏も見事でしたね 興味深かったのは
(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.
楽器を弾く手とテクノロジーとの競演と "若い人たちに耳を傾けよう" という彼の話でした 私の仕事も 聴くことが全てで
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.
世界の人々に聴くことを教えるのが目的です 人生の唯一の目的と言えます 簡単に聞こえますが 実際はかなりの大仕事 なぜなら楽譜を見ると 例えば このバッグの中にある 楽譜は小さな黒い点だらけです 広げて… 楽譜を読みます 楽譜は もちろん読めます 速度や強弱など 指示に従い 書かれたとおりに演奏します それで… 時間が限られているので 仮に弾いたら…冒頭だけでも複雑な曲ではないと分かります 難しくはないけど とても速い曲のようです 叩く場所も 指示されてます スティックのどこを使うかも 書かれています 強弱も… スネアをオフにしておくことも… これがオンで… これがオフ 譜面通りに弾けば どんな曲か分かります
(Drum sounds)
(Drum sounds end)
こんな感じ… 5年もせずに職をなくすでしょう
And so on. My career would probably last about five years.
(Laughter)
しかし譜面にないことをするのが 音楽家の仕事です
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.
先生とのレッスンや 話し合いでは得られないことを… 楽器から離れている時に 気付いたことを この小さなドラムの表面を使って 試していくんです 譜面通りに弾いたので 今度は解釈をしてみます
(Drum sounds)
(Drum sounds end)
(Applause)
これなら仕事として 少し長く続きそうです
Now my career may last a little longer.
(Laughter)
ある意味 人をみる時と同じことなんです
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.
ピンクの服を着た素敵な女性が テディベアを抱えている…とか どんな人かという基本的なことを知るんです 何をする人だろう…とか これは第一印象を基にしたことでしかありません それを解釈するんですが 深い洞察ではない 音楽も 楽譜から基本を理解し 技術的に難しい点や 弾き方を考えます 基本的なことですが
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 --
それでは不十分 ハービーの言っていた "聴くこと" です まず自分自身に耳を傾けること もしスティックを握ったら… 力強く握りしめたら
(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.
腕から かなりの衝撃が感じられます しかし 意外にも 楽器やスティックとの一体感がない ギュッと握っているにも関わらずです
(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 --
強く握るほど 距離が感じられるんです 力を抜いと 手や腕を支えとして使うと 苦労せず もっと大きな音が出せるし
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
スティックやドラムと一体に感じられます
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
ずっと小さな力で 楽器を知るのに時間が必要なように
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 --
人を知るためにも時間が必要です 表面上の理解を深めるために 曲を数小節 弾いてみましょう 技術者として… つまりパーカッション プレイヤーとして…
(Marimba sounds)
(Marimba sounds end)
音楽家として弾くと…
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 --
両者には 考えるに値する (会場: 拍手)
(Applause)
若干の違いがあります
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."
私は12歳の時 打楽器を始めましたが 先生に言われました "どうしたものかな… 音楽は聴くことだからね" 私は "そうですけど?" と聞き返しました "どうやってこれを聞くんだい? これは?" 私は "先生は?" と尋ねました "耳を通して聞くよ" と言うので "私もそうですけど…それ以外に手や" "腕 頬骨 頭 おなか 胸 脚でも聞きます" と答えました
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 --
…毎回レッスンはドラムのチューニングからでした 特にティンパニのチューニングから このぐらいの狭い音程からです
(Marimba sounds)
that of a difference. Then gradually:
それから少しずつ 少しずつ…
(Marimba sounds)
And gradually:
(Marimba sounds)
身体を開き 手を開いて
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 --
振動が伝わってくるようにすると ごくわずかな違いを
(Marimba sounds)
指の小さな部分で 感じ取ることができます
can be felt with just the tiniest part of your finger, there.
そこでレッスン室の壁に手を置いて
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 --
先生と一緒に 楽器の音を聴きました 単に耳で聴くよりも 音とより広く一体になろうとしたのです 耳は いろんなものに影響されますから その時の部屋や音の増幅 楽器の質 スティックの種類などに…
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
すべて違うんです
(Marimba sounds)
(Marimba sounds end)
重さは同じですが 音の"色"が違います
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.
人間と同じです 私たちも それぞれが自分の色を持っています それが その人独自の個性や 性格や魅力を作り出します
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.
その後私は ロンドンの王立音楽院を受験しました 学校側は "将来性が不透明だ" と拒みました いわゆる"聴覚障害ミュージシャン"の将来性が これは…納得しかねましたね そこで言いました "もし…" "断る理由がそれだけで" "演奏技術や音を紡ぎ出すことへの" "情熱を評価しないなら" "そもそもの合格の意味を考える必要がありますね" その結果… ハードルを越え 試験を2回受け 合格しました しかも これをうけて 全英の音楽院での その後の方針が変わりました
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 --
どんな事情があっても 願書を受理するようになったんです 腕や脚がなくてもです 支えがあれば 楽器が吹けるかもしれない どんな場合も 入学拒否の理由にならなくなった 受験者の演奏を聴き 実際に見て 実力に基づいて 合否を決めるようになったんです その結果 とても興味深い学生たちが 音楽院に入るようになりました 彼らの多くは今 プロとして世界中のオーケストラで活躍しています ここでも興味深いのは (拍手)
(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.
人は誰でも 音と通じ合えるというだけでなく 音楽は 私たちを日々癒してくれる薬なのです 音楽が というより音が ですね
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 --
音楽家として貴重な経験をしてきました 15歳ぐらいの生徒たちがいました とてつもない障害を抱えていて 身体を動かすのも ままならず 目や耳が不自由だったり… 彼が 楽器のそばに座ったり マリンバの下に横たわる そこで パイプオルガンのように弾きます ピッタリのスティックがないんですが… こんな感じです
(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:
シンプルですが 彼は私とは全く異なる体験をするでしょう 私は音の真上なので 音は 上がってきます 彼は共鳴管から音を感じるでしょう 共鳴管がなければ 音はこんなです
(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:
下なら音に包まれます 会場の最前列や 後ろの何列かでも感じられません 座っている場所に応じ まったく違う音を経験するんです もちろん 音を出す人間としては まず どんな音を出したいか考えます 例えば この音…
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
聞こえます? その通り 触っていませんから
(Laughter)
それでも何かが起こるのを感じ取ります
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.
木の揺れるのを見て 葉擦れの音を想像するのと一緒です 分かります? 何かを見る時 そこには音がある いつもいつも 大きな 万華鏡の中にいるかのような…
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.
私の演奏は 自分の経験が基になってます 楽譜から学ぶのでも 誰かの解釈に従うのでも 弾く曲のCDを買い集めるのでもありません それらは素のままの根源的なものを与えず 作り上げる過程を 堪能するには不十分なのです ホールによっては この強さでも十分でしょう
(Soft marimba sounds)
(Soft marimba sounds end)
別のホールでは全然聞こえないかも…
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 --
だから 条件に合わせて弾き方も 変えるんです
(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.
分かります? 現代では 音は体全体で感じるものになりました 特に聴覚障害者の間では… この音の扱いの変化は 音楽院や 養護学校に影響を与えました 治療の手段以外でも… 音楽の関係者からすると もちろん治療目的もありますが… この変化で 音響技師はホールの音響設計を考える必要が出てきました 本当に良い音響の会場は 世界でも少ないんですよ 本当に良い会場なら何でもできます とても小さい柔らかい音から 厚みのある 大きい音まで…素晴らしいです 普通は ここは良くても あっちはイマイチ… あっちは良くても こっちは最悪… こっちはヒドくても あっちは…という具合
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.
思い通りに弾ける会場に 出合えたら最高です 何も細工のない会場に… 聴覚障害者たちや音楽家の意見を 音響技師は取り入れています 興味深いですよ ここでは詳細に触れませんが 音響技師たちは意見を聞くんです 長年 こう言われてきた人々に "音楽がどう分かるの? 聞こえずに?" 聴覚障害に対する固定観念があります 視覚障害に対しても 車椅子に乗っている人は 歩けないと思いがちです でも 数歩でも歩ければ 彼らにとっては歩けるということ 一年後にはもう2歩 その次の年には もう3歩
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.
これはとても大事な考え方です だから 聴く時は どれだけ聴く力があるか試されます 身体全体に反響させて 即断はしない 私は扱う曲の99%が新曲なので 簡単に言い切れます "この曲は好き" "これは好きじゃない" と… でも こうした曲にも時間をかけるべきだと気付きました 曲との相性が良くなかったのかも知れない だからといって悪い作品だと言う権利はない それに 音楽家であることの利点は とても自由なことです これが正しいという決まりもない
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.
ちょっと… 手を叩いてもらえますか? 手を叩いて雷の音を作って下さい 雷は分かりますよね? 音だけじゃありませんよ 自分の内で雷を聴いて下さい それを拍手で表すんです さあどうぞ
(Loud clapping sounds)
(拍手)
(Clapping ends)
いいですね! 今度は雪です… 雪を聞いた事は?
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
(会場 "ないです")
Audience: No.
じゃあ叩かないで (会場 笑) もう一度…
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
もう一度 雪です
(No sound)
See, you're awake.
ね? 意識したでしょう?
Rain.
では雨を… 悪くないですね
(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:
興味深いのは… 子供たちに 最近同じ質問をしたんです 皆さんも見事でした 有難うございます でも誰も席を立って "じゃあ どう叩こう? "と
(Clapping sounds)
アクセサリーを使ったり
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.
体の他の部分を使わなかった 誰も違う叩き方をしなかったですね 座って両手を使う以外には? 音楽を聴く時も 全て耳を通すと思いがちです これが音楽の感じ方だと… 違うんです 雷を感じる時は… 考えるんです
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."
聴いて聴いて聴くんです さあどうします? 私の最初のレッスンはこうでした スティックを用意し準備万端でした こうは言われませんでした "両足を開いて" "腕は約90度 スティックはV字で" "脇を充分開いて" "背筋も伸ばす" とは… きっと様々なことを考えてしまい 身体が硬直し 上手く叩けなかったでしょう 代わりにドラムを一週間持ち帰るよう言われました "どうしよう? スティックもなしで? "
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.
スティックは禁止です そこで このドラムをじっくり眺め つまみやスネアなど 構造を調べました 裏返したり ドラムの上や周りを叩いたり
(Drum sounds)
Experimented with the head.
(Drum sounds)
身体もアクセサリーも使いました
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
使えるもの全て
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
アザだらけになりましたが
(Laughter)
信じ難いほど素晴らしい経験をしました
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.
どうやったら こんな経験が楽譜から得られます? どうやったら教本から得られます? 結局 教本は使いませんでした レッスンでは たとえば 音楽家ではなくプレイヤーになるための基礎として シングルストロークを学ぶものです
(Drum sounds)
こんな… 少しずつ早くしていきます
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.
この曲を弾くには? …シングルストローク 当時私にこの技術がなかったのは
(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.
まさに先生の意図でした 成長して正規の学生になって いわゆる音大生になると レッスンも変わりました 教本に沿うようになった いつも疑問でした "何と関係あるの?" "曲を弾きたい" と言うと "そのために必要だ"と 曲と通い合うのに なぜそれが必要なのか? 私は表現したかったのに
Why am I practicing paradiddles?
なぜパラディドルの練習?
(Drum sounds)
スティックを操る目的なんて?
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.
私には意味づけが必要でした それが音楽で語ることに どう関わるのか? 音楽を通して語ることによって あらゆる人に あらゆることを伝えられるんです 皆さんの内面には立ち入りません 個人の問題ですから それが個人個人の聴き方を決めるんです 演奏する時の私の感情も 様々なものですが 必ずしも皆さんに 同じように感じることは望みません 次回コンサートに行く時は 身体を開き 中で響かせてみて下さい 奏者と同じ体験ではありませんよ 奏者は音を聴くのに最悪の場所にいます
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
スティックがドラムに当たる音や
(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!
鍵盤に当たるマレットや 弦をこする弓や 吹く時の呼吸が聞こえるんです "素"のものなんです とても純粋なものでもありますが 実際の音になる前の段階なんです 音の誕生から消滅までの過程を意識して その全過程を感じてみて下さい 私もそのようにTEDの全てに触れたかった でも着いたのが昨日の夜だったので… まだ何か共有できると良いですが… それでも参加できて光栄でした
(Applause)
(拍手)
(Applause ends)
(Music)
(Music ends)
(Applause)