I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
Nu sunt sigura ca imi doresc sa vad un premier la ora noua dimineata
(Laughter)
In orice caz este minunat sa vad o sala atat de plina
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.
si chiar trebuie sa ii multumesc lui Herbie Hancock si colegilor sai pentru o prezentare minunata. Unul din lucrurile interesante,
(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.
bineinteles, este combinatia intre instrumentul folosit cu mana goala si tehnologie, si bineinteles ceea ce spunea despre a ne asculta semenii tineri. Evident, slujba mea este strans legata de ascultare
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.
si telul meu, realmente, este sa invat lumea sa asculte. Acestea este singurul meu scop adevarat in viata. Si pare simplu dar este, de fapt, o sarcina foarte, foarte mare. Pentru ca privind o bucata muzicala -- de exemplu, daca imi deschid micul meu rucsac de motocicleta -- avem, sa speram, o partitura care este plina de mici puncte negre pe fiecare pagina. Si o deschidem iar eu parcurg muzica scrisa. Tehnic vorbind, eu chiar pot citi aceasta pagina. Voi urma instructiunile, indiicatiile de tempo, dinamica. Voi face intocmai cum mi se spune. Asadar, pentru ca timpul este limitat, va redau, sa zicem, primele doua randuri. Este foarte simplu. Aceasta bucata nu are parti prea dificile. Dar mi se spune aici ca aceasta bucata muzicala este foarte rapida. Mi se indica unde anume pe toba sa bat. Mi se indica ce parte a batului sa folosesc. Si mi se indica dinamica. Si mi se spune, de asemenea, ca premierul are cordarul lasat. Cordar ridicat, cordar lasat. Asadar, daca transpun aceasta bucata muzicala, avem urmatoarea idee.
(Drum sounds)
(Drum sounds end)
Si asa mai departe. Cariera mea ar dura, probabil, vreo cinci ani.
And so on. My career would probably last about five years.
(Laughter)
Insa, ceea ce am de facut ca muzician este sa fac si tot ceea ce nu scrie pe partitura.
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.
Tot ceea ce nu am avut vreme sa invat de la un profesor, sau nici macar nu am avut vreme sa discut cu un profesor. Este vorba despre lucruri pe care le observi atunci cand nu canti la instrumentul tau dar care devin atat de interesante, incat vrei sa le explorezi prin intermediul acestei mici suprafete a unei tobe. Iata -- am experimentat transpunerea. Acum vom experimenta interpretarea.
(Drum sounds)
(Drum sounds end)
(Applause)
Acum cariera mea ar putea dura ceva mai mult timp!
Now my career may last a little longer.
(Laughter)
Intr-un fel, insa, este similar cu a ma uita la dumneavoastra si a vedea
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.
o domnisoara draguta, inteligenta cu o bluza roz. Vad ca tine in brate un ursulet de plus, etcetera, etcetera. Asa ca imi fac o idee de baza ce fel de persoana sunteti, ce preferinte ati putea avea, ce profesie ati putea avea, etcetera, etcetera. Insa, aceasta este prima impresie pe care o am si pe care am putea-o avea cand va privim. Si incercam sa o interpretam, dar de fapt este extrem de superficiala. In acelasi fel, privesc o partitura, imi fac o prima impresie, ma intreb ce dificultati tehnice ar putea avea, sau ce vreau sa fac. Doar prima impresie.
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 --
Insa aceasta pur si simplu nu este indeajuns. Si cred ceea ce a spus si Herbie -- va rog ascultati, ascultati. Trebuie sa ne ascultam pe noi insine, in primul rand. Daca, de exemplu, cant tinand batul in asa fel incat nu ii dau drumul deloc
(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.
voi simti o serie de socuri urcand prin intermediul bratului. si ma voi simti -- in mod surprinzator -- detasata de instrument si de bat, chiar daca eu tin, de fapt, batul foarte strans
(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 --
Tinandu-l strans, ma simt, in mod straniu, mai detasata. Daca pur si simplu ii dau drumul si permit mainii mele, bratului meu sa fie mai degraba un sprijin brusc voi avea o dinamica mai mare cu mai putin efort. Mult mai mare.
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
Si devin, in sfarsit, una cu batul si una cu toba.
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
Si fac mult mai putin. Astfel, asa cum am avut nevoie de timp cu acest instrument,
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 --
Am nevoie de timp cu oamenii, pentru a ii intelege. Nu doar a-i auzi, ci a-i intelege. Daca, spre exemplu, redau cateva masuri dintr-o piesa gandindu-ma la mine insami ca la un tehnician adica o persoana care este, in esenta, un percutionist
(Marimba sounds)
(Marimba sounds end)
si asa mai departe. Daca ma gandesc la mine insami ca la un muzician
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 --
si asa mai departe. Exista o mica diferenta care merita -- (aplauze)
(Applause)
-- atentie.
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."
Imi amintesc cand aveam 12 ani incepusem sa studiez timpanul si percutia, iar profesorul meu mi-a spus: "Ei bine, cum procedam? Stii, muzica este strans legata de ascultare." "Da, sunt de acord cu asta. Deci, care este problema?" Si el mi-a zis, "Pai, cum vei auzi tu toate astea? Cum vei auzi tu totul?" Iar eu i-am zis, "Pai tu cum le auzi?" El spuse "Pai, eu cred ca le aud pe aici." Iar eu am zis "Ei bine, si eu cred ca le aud la fel -- dar le aud, de asemenea, prin mainile mele, prin bratele mele, pometi, cap, burta, piept, picioarele mele si asa mai departe."
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 --
Asa ca ne incepeam de fiecare data lectiile acordand tobe -- mai ales paucele sau timpanele -- la intervale sonore foarte mici, ceva de genul ...
(Marimba sounds)
that of a difference. Then gradually:
cam asa diferenta. Apoi treptat ... si treptat ...
(Marimba sounds)
And gradually:
(Marimba sounds)
si este spectaculos ca in momentul in care chiar iti deschizi corpul,
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 --
si iti deschizi mainile pentru a permite vibratiilor sa patrunda, ca, de fapt, o foarte mica diferenta..
(Marimba sounds)
poate fi simtita cu o foarte mica parte a degetului, aici.
can be felt with just the tiniest part of your finger, there.
Asa ca ceea ce faceam era ca eu sa imi pun mainile pe peretele
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 --
salii de muzica si impreuna sa ascultam sunetul instrumentelor si sa incercam sa conectam la sunete mult mai amplu decat bazandu-ne doar pe ureche. Pentru ca, in mod evident, urechea este supusa unei intregi serii de aspecte. Sala in care ne aflam, amplificarea, calitatea instrumentului, tipul de bat, et cetera, et cetera.
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
Toate variaza.
(Marimba sounds)
(Marimba sounds end)
Aceeasi greutate, dar cu nuante diferte ale sunetului.
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.
In esenta asta suntem si noi. Suntem toti fiinte umane dar, intr-un fel, fiecare are propriile nuante de sunet, care alcatuiesc aceste personalitati extraordinare si caractere si interese si tot felul de lucruri.
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.
Cand am crescut, am dat o proba la Academia Regala de Muzica din Londra, iar ei mi-au spus "Nu, nu te putem primi pentru ca nu avem nici cea mai vaga idee ce viitor ar putea avea un asa-zis muzician surd." Iar eu nu am putut accepta acest raspuns Asa ca le-am spus "Uitati, daca ma respingeti -- daca ma respingeti pentru acest motiv, netinand cont de capacitatea mea de a interpreta si de a intelege si iubi arta de a crea sunete -- atunci trebuie sa ne gandim foarte, foarte atent la genul de oameni pe care ii acceptati." Drept urmare -- odata ce am trecut acest mic obstacol si am fost nevoita sa dau proba de doua ori -- m-au primit. Si nu doar atat -- ceea ce s-a intamplat a fost ca s-a schimbat intreg rolul institutiilor muzicale de pe teritoriul Marii Britanii.
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 --
In nici un caz nu mai aveau sa refuze vreo candidatura pe baza faptului ca cineva nu are maini, nu are picioare -- poate totusi pot canta la un instrument de suflat, daca este sustinut de un suport. Nici un fel de conditii similare nu au fost folosite pentru a refuza o candidatura. Fiecare proba trebuia ascultata, parcursa si apoi bazandu-se pe aptitudinea muzicala, acea persoana putea fi admisa sau nu. Asadar, acesta turnura a adus o generatie fascinanta de studenti a fost admisa in toate aceste institutii. Si trebuie sa mentionez ca, multi dintre ei, au intrat, mai departe, in orchestre de pretutindeni. Lucrul interesant in legatura cu asta, insa -- (Aplauze) --
(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.
este nu numai ca oamenii sunt legati de sunet -- adica noi toti si stim bine ca muzica este leacul nostru zilnic. Spun muzica, dar de fapt ma refer la sunet.
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 --
Pentru ca unele din lucrurile extraordinare pe care le-am trait ca muzician, cand poate ai un baiat de 15 ani care infrunta cele mai crancene provocari care poate nu este capabil sa isi controleze miscarile, care poate fi surd, care poate fi orb, etcetera, etcetera Totusi, daca acest tanar este asezat aproape de instrument, sau poate chiar intins sub marimbafon iar tu intrepretezi ceva ce semana foarte mult cu o orga -- Nu prea am eu betele potrivite, poate -- ceva de genul acesta. Dati-mi voie sa schimb.
(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:
Ceva ce este incredibil de simplu -- dar el ar trai ceva ce eu nu as trai, pentru ca eu sunt deasupra sunetului. Sunetul ajunge la mine pe aceasta cale. Sunetul ar ajunge la el prin intermediul rezonatorilor. Daca nu as avea rezonatori aici, am obtine --
(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:
si el ar beneficia de o plenitudine a sunetului de care voi in primele cateva randuri nu ati beneficia; nici cei dintre voi asezati in randurile din spate. Fiecare dintre noi, in functie de unde suntem asezati, vom percepe acest sunet foarte, foarte diferit. Si bineinteles, fiind generatorul acestui sunet pornesc de la ideea de ce fel de sunet vreau sa produc -- spre exemplu, acest sunet.
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
Auziti ceva? Exact. Pentru ca nici nu il ating.
(Laughter)
Si totusi, avem senzatia ca ceva se intampla.
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.
In acelasi fel in care, atunci cand un copac se misca, eu imi imaginez copacul fosnind. Intelegeti ce vreau sa spun? Orice vad ochii este insotit si de producerea unui sunet. Asa ca intotdeauna exista acea imensa -- literalmente caleidoscopica, gama de aspecte din care sa te inspiri.
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.
Asadar toate spectacolele mele se bazeaza in intregime pe ceea ce simt si nu pe memorarea unei piese, pe ascultarea unei alte interpretari a piesei, pe achizitia tuturor CD-urilor posibile ce contin acea piesa si asa mai departe. Pentru ca aceste lucruri nu imi dau destul din ceva ce este atat de neprelucrat si de primar si ceva ce pot eu insami experimenta ca si calatorie. Este posibil ca in anumite sali sa functioneze dinamica aceasta.
(Soft marimba sounds)
(Soft marimba sounds end)
Este la fel de posibil ca in alte sali, publicul sa nu auda deloc acelasi lucru
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 --
si, ca urmare, gradul meu de interpretare domoala, linistita sa fie nevoit a fi
(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.
intelegeti ceea ce vreau sa spun? Astfel, datorita acestei explozii de acces la sunet, mai ales in randurile comunitatii de surzi, a fost afectat felul in care institutiile muzicale, in care scolile pentru surzi abordeaza sunetele. Si nu numai in calitate terapeutica -- desi evident, fiind un generator de muzica, este si acesta scopul, cu siguranta. Ceea ce a insemnat, insa, este ca acusticienii au fost nevoiti sa se gandeasca atent la salile pe care le proiecteaza. Sunt atat de putin sali pe lumea aceasta care au realmente o acustica buna, imi permit sa o spun. Iar, prin asta vreau sa spun ca poti face orice iti trece prin minte. Cel mai marunt si mai stins sunet este raspandit atat de larg, de imens, de incredibil! Intotdeauna apare ceva -- poate ca suna bine acolo, dar nu asa de bine dincolo. Poate fi minunat acolo, dar ingrozitor dincolo. Poate fi ingrozitor acolo, dar nu asa de rau dincolo, etcetera, etcetera.
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.
Asa ca este incredibil sa gasesti o sala adevarata -- unde poti canta tot ce iti imaginezi, fara a fi nevoit sa cosmetizezi sunetul. Asadar acusticienii sunt in dialog cu persoane care au deficiente de auz si care sunt, de asemenea, generatori de sunet. Si este foarte interesant. Nu pot sa va dau detalii cu privire la ce anume se intampla cu acele sali, dar faptul ca sunt atenti la un grup de oameni despre care atat de mult timp s-a spus "Cum naiba sa asculte muzica? Stiti, sunt surzi." Facem asa -- si ne inchipuim ca asta inseamna sa fii surd. Sau facem asa -- si ne inchipuim ca asta inseamna sa fii nevazator. Daca vedem pe cineva intr-un scaun cu rotile, presupunem ca nu pot merge. Poate ca pot merge trei, patru, cinci pasi. Asta, pentru ei, inseamna ca pot merge. Poate intr-un an, mai pot face doi pasi in plus. In inca un an, trei pasi in plus.
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.
Este extrem de important sa ne gandim la aspecte de genul acesta. Asadar, atunci cand ne ascultam unii pe altii, este extrem de important sa ne testam cu adevarat capacitatea de ascultare. Sa ne folosim trupurile ca pe niste camere de rezonanta. Sa oprim prejudecatile. Pentru mine, ca muzician care are de-a face cu muzica noua in proportie de 99 la suta este foarte usor sa spun "Da, imi place piesa aceea. Nu, nu imi place piesa cealalta." Si asa mai departe. Am descoperit insa ca trebuie sa le dau timp acelor piese. Se poate intampla ca legatura dintre mine si piesa sa nu fie tocmai buna. Dar asta nu inseamna ca am dreptul sa spun ca este o piesa muzicala proasta. Unul din aspectele minunate ale vietii de muzician este fluiditatea incredibila Nu exista reguli, bine, rau, asa da, asa nu.
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.
Daca v-as ruga sa bateti din palme -- poate o pot face. Daca va spun "va rog bateti din palme". Si creati sunetul unui tunet. Presupun ca stim cu totii ce este acela un tunet. Nu ma refer doar la sunet vreau sa ascultati, cu adevarat, tunetul dinauntrul vostru. Si va rog sa creati acel sunet prin bataia palmelor. Incercati. Doar incercati va rog.
(Loud clapping sounds)
(Aplauze)
(Clapping ends)
Foarte bine! Zapada. Zapada. Ati auzit vreodata zapada?
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
Publicul: Nu.
Audience: No.
Evelyn Glennie: Ei bine, atunci opriti-va din batut. (Rasete) Incercati din nou.
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
Incercati din nou. Zapada.
(No sound)
See, you're awake.
Vedeti, dumneavoastra sunteti atent.
Rain.
Ploaie.Nu e rau. Nu e rau.
(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:
Aspectul interesant, insa, este ca am rugat un grup de copii sa faca acelasi lucru, acum recent. Acum -- extraordinara imaginatie, multumesc mult. Insa, nici unul dintre dumneavoastra nu s-a ridicat de pe scaun sa se gandeasca "Bine! Cum pot bate din palme? Ok, poate...
(Clapping sounds)
-- poate ma pot folosi de bijuterii sa creez sunete noi.
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.
Poate ma pot folosi de celelalte parti ale trupului sa creez sunete noi." Nici unul dintre dumneavoastra nu s-a gandit sa bata din palme in mod diferit in alt fel decat a sta pe scaun si a folosi doua maini. In mod similar atunci cand ascultam muzica presupunem ca intra pe aici. In acest fel traim muzica. Bineinteles ca nu este asa. Traim tunetul -- tunet, tunet. Ganditi-va, ganditi-va, ganditi-va.
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."
Ascultati, ascultati, ascultati. Acum -- ce putem face cu tunetul? Imi amintesc de profesorul meu. Cand am inceput prima lectie din viata mea eram pregatita, aveam bete, eram gata sa incep. Si in loc sa imi spuna "OK, Evelyn, te rog. Picioarele usor departate, bratele la unghi de 90 grade, betele intr-o pozitie de V pastreaza atat spatiu aici, etcetera. Te rog mentine-ti spatele drept, etcetera, etcetera, etcetera." Probabil ca as fi devenit extrem de rigida, intepenita si nu as fi fost in stare sa lovesc toba pentru ca m-as fi gandit la o mie de alte lucruri. Mi-a spus "Evelyn ia toba asta cu tine timp de sapte zile si ne vedem peste o saptamana". Dumnezeule! Ce sa fac? Nu mai aveam nevoie de bete,
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.
Nu aveam voie sa am betele cu mine. Am fost nevoita sa ma uit la toba aceasta, sa vad cum este construita, ce fac suruburile astea mici, ce face cordarul. Am intors-o cu susul in jos, am experimentat cu corpul de lemn, am experimentat cu membrana
(Drum sounds)
Experimented with the head.
(Drum sounds)
Am experimentat cu trupul meu, am experimentat cu bijuteriile,
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
am experimentat cu tot soiul de lucruri.
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
Si, evident, m-am intors cu tot felul de vanatai si lucruri de genul asta --
(Laughter)
dar cu toate astea, a fost o experienta de necrezut
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.
pentru ca in ce piesa muzicala o sa traiesti o astfel de experienta? In ce caiet de studiu o sa traiesti o asa experienta? Asa ca niciodata nu ne-am ocupat propriu-zis de caiete de studiu. Spre exemplu, unul din lucrurile pe care le invatam cand vrem sa devenim percutionisti, spre deosebire de alti muzicieni, sunt lovituri simple, drepte, una cate una.
(Drum sounds)
Asa. Apoi acceleram un pic, si inca un pic, si inca un pic.
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.
Si asa mai departe. De ce are nevoie piesa aceasta? Lovituri simple una cate una. Si de ce nu pot face asta in timp ce ascult muzica?
(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.
Si exact asta a facut el. In mod interesant, pe masura ce am crescut, atunci cand am devenit studenta la o asa-zisa "institutie muzicala", toate acestea au disparut. Am fost nevoiti sa invatam din carti. Si in mod constant ne intrebam de ce? De ce? Cu ce are legatura asta? Eu vreau sa cant o piesa. "Ei bine, asta te va ajuta la partea de control" Cum? De ce trebuie sa invat asta? Am nevoie sa o leg de o melodie. Stiti. Am nevoie sa spun ceva.
Why am I practicing paradiddles?
De ce exersez grupuri de patru lovituri?
(Drum sounds)
Este oare doar pentru controlul mai bun al betelor? De ce fac asta?
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.
Imi trebuie un motiv si motivul trebuie sa fie ceva ce pot transmite prin muzica. Si transmitand ceva prin muzica, ce in esenta este sunet putem transmite tot soiul de lucruri catre tot soiul de oameni. Dar nu vreau sa imi asum responsabilitatea pentru bagajul dumneavoastra emotional. Acesta este la latitudinea dumneavoastra atunci cand intrati intr-o sala. Pentru ca acesta determina ce si cum ascultam. Poate sunt trista, sau vesela, sau exuberanta sau furioasa atunci cand cant anumite melodii, dar nu vreau neaparat ca voi sa simtiti acelasi lucru. Asa ca, va rog, data viitoare cand mergeti la un concert permiteti trupului vostru sa se deschida, permiteti trupului vostru sa fie o camera de rezonanta Intelegeti ca nu veti trai acelasi sentiment ca si intrepretul. Intrepretul este, de fapt, cel mai prost pozitionat pentru a percepe sunetul
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
el aude zgomotul la contactul batului cu toba,
(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!
sau al ciocanelului cu lemnul, sau al arcusului cu coarda, etcetera. Sau suflul care da nastere sunetului alamei si al suflatorilor. Ei traiesc sunetul brut acolo. Si totusi experimenteaza ceva atat de pur inainte ca sunetul sa ia nastere. Va rog observati viata sunetului dupa prima lovitura propriu-zisa sau dupa prima suflare. Ganditi-va la intreaga calatorie a acelui sunet in acelasi fel in care imi doresc sa ma gandesc la intregul drum al acestei conferinte, spre deosebire de a ma gandi ca abia am ajuns aseara. Sper sa putem imparti unul sau doua lucruri pe masura ce ziua merge mai departe. Va multumesc foarte mult ca m-ati primit!
(Applause)
(Aplauze)
(Applause ends)
(Music)
(Music ends)
(Applause)