I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
Nisam baš potpuno sigurna da želim da vidim doboš oko devet ujutru.
(Laughter)
U svakom slučaju, sjajno je videti ovako popunjenu salu,
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 moram da se zahvalim Herbi Henkoku i njegovim kolegama na odličnoj prezentaciji. Jedna od zanimljivosti,
(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, je kombinacija žive ruke na instrumentu i tehnologije, i naravno ono što je rekao o slušanju naših mladih. Naravno, suština mog posla je 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 cilj, u stvari, je da naučim svet da sluša. To je moj jedini stvarni cilj u životu. To zvuči prilično jednostavno, ali je zapravo dosta velik posao. Jer, znate, kad vidite muzičko delo -- na primer, samo da otvorim moju malenu motorističku torbu -- tu imamo, nadam se, muzičko delo koje je puno malih crnih tačkica na stranici. I tako, otvorimo ga i ja pročitam muziku. Tehnički, ja zapravo ovo mogu da pročitam. Pratiću uputstva, oznake za tempo, dinamiku. Uradiću tačno kako mi je rečeno. Dakle, pošto imam malo vremena, da ja vama odsviram doslovce dva, tri reda. Vrlo je jednostavno. Nema ničeg suviše teškog u ovom komadu. Ali ovde mi kažu da je ovo delo vrlo brzo. Piše mi gde da sviram na dobošu. Piše mi koji deo palice da koristim. I rečeno mi ja kakva je dinamika. Takođe mi je rečeno da je doboš bez snara. Snar dignut, snar spušten. Tako da, ako prevedem ovo delo, ovo je ideja.
(Drum sounds)
(Drum sounds end)
I tako dalje. Moja karijera bi verovatno trajala oko pet godina.
And so on. My career would probably last about five years.
(Laughter)
Međutim, ono što bih ja kao muzičar trebalo da uradim, je da uradim sve ono što ne piše 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 šta nema dovoljno vremena da se nauči od učitelja, ili makar da se o tome razgovara sa učiteljem. Stvari koje primećujete kada niste za svojim instrumentom postaju u stvari toliko interesantne, da želite da ih istražujete preko ove sićušne površine doboša. I tako -- doživeli smo prevod. A sada ćemo doživeti interpretaciju.
(Drum sounds)
(Drum sounds end)
(Applause)
E sad će moja karijera možda i potrajati!
Now my career may last a little longer.
(Laughter)
Ali na neki način, znate, to je isto kao kad 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 veselu mladu damu u pink majici. Vidim da držite plišanog medu, i tako dalje i tako dalje. Tako stičem otprilike ideju kakvi ste, šta volite, čime bi mogli da se bavite, itd itd. Međutim, to je samo prvi utisak koji svi mi možemo steći kada samo pogledamo. I pokušavamo da interpretiramo, ali je to zapravo neverovatno površno. Isto tako, ja pogledam note, shvatim osnovnu ideju, zapitam se šta bi tehnički moglo da bude teško, ili, znate, šta želim da uradim. Samo osnovni osećaj.
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 --
Ali, to jednostavno nije dovoljno. I ja mislim ono što je Herbi rekao -- molim vas, slušajte, slušajte. Moramo prvenstveno da slušamo sami sebe. Ako sviram, na primer, držeći palicu tako da bukvalno ne puštam 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.
osetićete znatnu povratnu silu kroz ruku. A osećate se prilično, verovali ili ne, odvojeno od instrumenta i od palice, iako držim palicu dosta 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 ali osećam se više odvojeno. Ako se samo opustim i pustim da moja šaka i ruka samo budu oslonac, odjednom postižem više dinamike sa manje truda. Mnogo više.
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
I najzad osećam jedinstvo sa palicom i dobošem.
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
A radim mnogo, mnogo manje. Kao što mi je potrebno da provedem vreme sa ovim 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 --
potrebno mi je vreme i sa ljudima da bih mogla da ih protumačim. Ne samo da ih "prevedem", nego protumačim. Ako, na primer, odsviram samo par taktova muzičkog dela zamislivši da sam tehničar tj, neko ko je u osnovi perkusionista...
(Marimba sounds)
(Marimba sounds end)
itd. Ako zamislim da sam muzičar...
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 --
itd. Postoji malena razlika o kojoj vredi (aplauz)
(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."
Sećam se kada sam imala 12 godina, i kad sam počela da sviram timpane i perkusije, a moj nastavnik rekao, "Pa, kako ćemo ovo da radimo? Znaš, poenta muzike je u slušanju." "Da, slažem se. I, u čemu je problem?" A on je rekao, "Pa, kako ćeš da čuješ ovo? Kako ćeš da čuješ ono?" A ja sam rekla, "Pa, kako vi to čujete?" Rekao je, "Pa, mislim da čujem preko ovoga." A ja sam rekla, "Pa, mislim da i ja tako čujem ali čujem i preko šaka, preko ruku, jagodica, temena, stomaka, grudnog koša, nogu itd."
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 svaku lekciju počinjali štimovanjem doboša -- tačnije, timpana -- na vrlo precizan interval visine tona, nešto poput...
(Marimba sounds)
that of a difference. Then gradually:
ovolike razlike. A onda malo po malo... postepeno...
(Marimba sounds)
And gradually:
(Marimba sounds)
neverovatno je to što kad oslobodite svoje telo,
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 i dozvolite vibracijama da prolaze, da i ta mala, mala razlika
(Marimba sounds)
može da se oseti najmanji delom vašeg prsta, eto.
can be felt with just the tiniest part of your finger, there.
I tako smo radili sledeće - ja bih stavila svoje šake 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 --
muzičke sobe, i zajedno smo slušali zvuke instrumenata, i stvarno pokušavali da se povežemo sa tim zvucima mnogo šire nego samo se oslanjajući na uho. Zato što je, naravno, uho izloženo raznim uticajima. Prostorija u kojoj se nalazimo, pojačanje, kvalitet instrumenta, vrsta palica, i tako dalje, i tako dalje.
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
Svi su oni različiti.
(Marimba sounds)
(Marimba sounds end)
Ista težina, ali drugačija boja zvuka.
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 stvari ono što jesmo. Svi smo samo ljudska bića, ali svako od nas ima svoje malene, takoreći, boje zvuka koje čine te izuzetne ličnosti i karaktere i interesovanja 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.
Kada sam porasla, konkurisala sam na Kraljevskoj muzičkoj akademiji u Londonu, i oni su rekli, "Pa, ne, nećemo te primiti, jer nemamo pojma, znaš, kakva je budućnost tzv "gluvog" muzičara." A ja to jednostavno nisam mogla da prihvatim. I zato sam im rekla, "Pa, vidite, ako odbijate ako me odbijate iz tih razloga, nasuprot sposobnosti izvođenja, razumevanja i ljubavi prema umetnosti stvaranja zvuka -- onda moramo vrlo, vrlo ozbiljno da razmislimo o ljudima koje zapravo primate." I kao rezultat -- kad smo prevazišli prepreke, i posle druge audicije -- primili su me. I ne samo to -- ono što se desilo je da je to promenilo kompletnu funkciju muzičkih institucija širom Velike Britanije.
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 --
Ni pod kojim uslovima nisu smeli da odbiju ni jednu jedinu prijavu na osnovu toga da li neko nema ruke, noge -- i dalje je mogao da svira npr duvački instrument ako stoji na stalku. Nikakve okolnosti nisu korišćene kao razlog za odbijanje bilo koje pirjave. I svaki kandidat je morao da bude saslušan, doživljen i onda na osnovu muzičkih sposobnosti -- ta osoba bi bila primljena ili ne. I tako je ispalo da se pojavila prilično zanimljiva grupa studenata pristigla u te razne muzičke institucije. Moram da vam kažem, sada su većina njih članovi profesionalnih orkestara širom sveta. Doduše, još jedna zanimljiva stvar u vezi ovoga -- (Aplauz) --
(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.
je jednostavno to da ne samo da su ljudi povezani sa zvukom -- što smo u stvari svi mi, a dobro znamo da je muzika naš svakodnevni lek. Kažem muzika, a u stvari 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, doživela sam neke neobične stvari kao muzičar, kad imate 15-godišnjeg mladića koji je u velikoj meri hendikepiran, koji možda nije u mogućnosti da kontroliše svoje pokrete, koji može biti gluv, slep, i tako dalje. Odjednom, ako taj mladić sedi blizu instrumenta, a možda čak i leži ispod marimbe, a vi svirate nešto što neodoljivo podseća na organu, skoro -- nemam baš odgovarajuće palice, možda -- ali nešto slično ovome. Samo da promenim.
(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 što je neverovatno jednostavno -- ali on bi doživeo nešto što ja ne bih mogla, jer se nalazim iznad zvuka. Meni zvuk dolazi sa ove strane. Njemu bi zvuk dolazio sa rezonatora. Kada ovde ne bi bilo rezonatora, imali bismo --
(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:
tako da bi on imao punoću zvuka koju vi u prvih par redova ne biste doživeli; vi u poslednjih par redova takođe. Svako od nas pojedinačno, zavisno od toga gde sedimo, će doživeti ovaj zvuk potpuno drugačije. I naravno, kao učesnik u zvuku, počevši od ideje kakav zvuk želim da proizvedem -- na primer, ovaj zvuk.
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
Da li možete da čujete bilo šta? Tačno tako. Jer ga čak i ne dodirujem.
(Laughter)
Ali ipak, stičemo utisak da se nešto dešava.
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.
Isto kao kad vidim da se drvo povija, pa zamišljam da stvara zvuk šuštanja. Jel kapirate o čemu govorim? Šta god oko vidi, uvek je tu i zvuk. Tako da uvek, uvek postoji ta ogromna -- hoću da kažem, taj kaleidoskop raznih izvora.
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.
Tako da su svi moji nastupi zasnovani na mojim doživljajima, a ne na učenju muzičkog dela, kopiranju nečijeg izvođenja, kupovinom svih mogućih CDova sa tim delom, i slično. Jer to mi ne daje dovoljno nečega što je toliko izvorno i osnovno, nečega čiji razvitak mogu potpuno da doživim. Tako da se može desiti da, u nekim salama, ova dinamika i upali.
(Soft marimba sounds)
(Soft marimba sounds end)
A može biti da u drugim salama, publika jednostavno to neće čuti
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 --
uopšte, tako da, moj nivo tihog, nežnog sviranja će možda morati da bude --
(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.
shvatate šta hoću da kažem? Dakle, zbog ove eksplozije u pristupu zvuku, naročito preko gluve populacije, ovo nije samo promenilo način na koji muzičke institucije, kako škole za gluve tretiraju zvuk. I ne samo kao sredstvo terapije -- iako naravno, kao učesnik u muzici, to je takođe slučaj. Ali predviđeno je da akustičari moraju stvarno da razmisle o vrsti sale koju stvaraju. Postoji tako malo sala na svetu koje stvarno imaju vrlo dobru akustiku, usuđujem se da kažem. Pod time podrazumevam mesto gde možete uraditi šta god zamislite. Najtiši, najnežniji zvuk, pa sve do nečega što je tako široko, tako ogromno, tako neverovatno! Uvek postoji nešto -- može dobro zvučati tamo, a ne tako dobro ovde. Može biti sjajno tamo, a užasno tamo. Može biti užasno tamo, a ne tako strašno ovde, itd.
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.
Tako da je pronalaženje one sale neverovatno -- u kojoj možete svirati šta god zamislite, bez dodatnih kozmetičkih unapređenja. Zbog toga akustičari u stvari komuniciraju sa ljudima koji su oštećenog sluha, a koji su učesnici u zvuku. I to je vrlo interesantno. Ne mogu, znate, da vam detaljno objasnim šta se stvarno dešava sa tim salama, ali je činjenica da se obraćaju grupi ljudi za koje smo godinama govorili, "Kako će, zaboga, oni čuti muziku? Znate, oni su gluvi," Mi samo -- uradimo ovako, i zamišljamo da je to poenta gluvoće. Ili uradimo ovako, i zamišljamo da je to poenta slepila. Ako vidimo nekog u invalidskoj stolici, pretpostavljamo da ne može da hoda. A možda može da hoda tri, četiri, pet koraka. To, po njima, znači da mogu da hodaju. Za godinu dana, to može biti dva dodatna koraka. Za još godinu dana, tri koraka više.
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.
To su izuzetno bitni aspekti za razmišljanje. Zato kada slušamo jedni druge, neverovatno je bitno da stvarno isprobamo našu sposobnost slušanja. Da stvarno koristimo naša tela kao rezonantnu kutiju. Da prestanemo sa osudama. Meni, kao muzičaru koji se 99% susreće sa novom muzikom, je vrlo lako da kažem, "O, da, sviđa mi se ovo delo. O, ne, ne sviđa mi se ono delo." I tako dalje. A, znate, samo shvatim da tim delima moram da posvetim vreme. Može biti da hemija nije baš prava između mene i baš tog muzičkog dela. Ali to mi ne daje za pravo da kažem da je to loše muzičko delo. Znate, to je jedna od divnih stvari kad ste muzičar, da je to tako fleksibilno. Tako da ne postoje pravila, tačno i pogrešno, ovaj ili onaj način.
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.
Ako vas zamolim da tapšete -- možda mogu da uradim ovo. Ako samo kažem, "molim vas tapšite." I stvorite zvuk groma. Pretpostavljam da smo svi doživeli grmljavinu. E sad, ne mislim samo na zvuk, mislim da stvarno slušate tu grmljavinu u sebi. I molim vas pokušajte da to proizvedete svojim tapšanjem. Pokušajte. Samo -- molim vas, pokušajte.
(Loud clapping sounds)
(Aplauz)
(Clapping ends)
Sjajno! Sneg. Sneg. Da li ste ikad čuli sneg?
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
Publika: Ne.
Audience: No.
Evelyn Glennie: Pa onda, prestanite da tapšete. (Smeh) Pokušajte ponovo.
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
Pokušajte ponovo. Sneg.
(No sound)
See, you're awake.
Vidite, budni ste.
Rain.
Kiša. Nije loše. Nije loše.
(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:
Znate, zanimljivo je, međutim, da sam pitala grupu dece ne tako davno isto ovo pitanje. E sad -- odlična mašta, hvala vam puno. Međutim, niko od vas nije ustao sa svojih stolica i pomislio, "Važi! Kako mogu da tapšem? OK, možda...
(Clapping sounds)
-- možda bih mogao da iskoristim nakit da proizvedem dodatne zvuke.
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.
Možda bih mogao da koristim i druge delove tela da proizvedem nove zvuke. Niko od vas nije pomislio da tapše na malo drugačiji način osim sedeći u svojim stolicama i koristeći dva dlana. Na isti način kao što slušamo muziku, pretpostavljamo da ona u potpunosti ulazi ovuda. Tako mi doživljavamo muziku. Naravno da nije tako. Doživljavamo grmljavinu - grmi, grmi. Misli misli misli.
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."
Slušaj slušaj slušaj. E sad -- šta možemo da uradimo sa grmljavinom? Sećam se svog učitelja. Kad sam prvi put počela, na mom prvom času, bila sam potpuno pripremljena, sa palicama, spremna za polazak. I umesto da je rekao, "Važi, Evelin, ajde. Stopala blago razmaknuta, ruke pod uglom od otprilike 90 stepeni, palice otprilike u V obliku, drži ovo rastojanje, i tako dalje. Molim te drži prava leđa, itd itd." Gde bih verovatno završila potpuno ukočena i kruta, i ne bih bila u stanju da sviram bubanj, jer bih mislila na toliko drugih stvari. Rekao je, "Evelin, ponesi ovaj bubanj na sedam dana, i vidimo se sledeće nedelje." O, nebesa! Šta je trebalo da uradim? Više mi nisu trebale palice,
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.
nije mi bilo dozvoljeno da ih imam. Morala sam u stvari da gledam baš ovaj bubanj, da vidim kako je izrađen, čemu ove male drške služe, čemu služi snar. Prevrtala sam ga, isprobavala sa okvirom, sa glavom.
(Drum sounds)
Experimented with the head.
(Drum sounds)
Eksperimentisala sa svojim telom, nakitom,
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
sa raznoraznim stvarima.
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
I naravno, vratila sam se sa svakakvim ogrebotinama i slično --
(Laughter)
ali ipak, bilo je to neverovatno iskustvo,
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.
jer, gde biste to doživeli u muzičkom delu? Gde biste to doživeli kroz udžbenik? Tako da mi nikada nismo radili sa zvaničnim udžbenicima. Na primer, jedna od stvari koju naučimo kad učimo da budemo perkusionista, nasuprot muzičarima, je otprilike najosnovniji niz pojedinačnih udaraca.
(Drum sounds)
Ovako. A onda idemo malo brže i još malo brže i još brže.
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 tako dalje. Šta se u ovom komadu očekuje? Niz pojedinačnih udaraca. Zašto onda ne mogu da to uradim dok vežbam muzičko delo?
(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.
I to je baš ono što je i on uradio. Zanimljivo, što sam bila starija, kad sam postala redovan student na tzv "muzičkoj instituciji", sve to je palo u vodu. Morali smo da učimo iz udžbenika. I sve vreme je tu bilo pitanje, pa, zašto? Zašto? Čemu ovo? Moram da odsviram muzičko delo. "Pa, ovo će ti pomoći da vežbaš kontrolu!" Pa, kako? Zašto moram to da učim? Moram to da povežem sa muzičkim delom. Razumete. Moram da saopštim nešto.
Why am I practicing paradiddles?
Zašto vežbam paradidl?
(Drum sounds)
Da li je to bukvalno za kontrolu, za kontrolu ruka-palica? Zašto ovo radim?
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.
Moram da imam razlog, a razlog mora biti izražavanje nečega putem muzike. A izražavanjem kroz muziku, koja je u stvari zvuk, možemo dopreti raznim načinima do raznih ljudi. Ali ja ne želim da preuzmem odgovornost za vaš emocionalni teret. To je na vama, kada hodate kroz salu. Jer to onda određuje način na koji slušamo određene stvari. Mogu biti tužna ili srećna, ili vesela, ili ljuta dok sviram određeno muzičko delo, ali ne mora da znači da želim da osećate isto što i ja. Tako da, molim vas, sledeći put kad odete na koncert, samo dozvolite svom telu da se otvori, pustite da vaše telo bude rezonantna kutija. Budite svesni da nećete doživeti isto što i izvođač. Izvođač se nalazi na najgoroj mogućoj poziciji za taj zvuk,
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
oni čuju kontakt palice sa dobošem,
(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!
ili udar o parče drveta, ili istezanje žice, itd. Ili dah koji stvara zvuk na duvačkim instrumentima. Onu tu sirovost osećaju ovde. Ipak, oni osećaju nešto neverovatno čisto, pre nego što se zvuk uopšte pojavi. Molim vas primetite život zvuka nakon što se dogodi prvobitni udar, ili udah. Samo doživite čitav put tog zvuka na isti način kao što sam ja želela da doživim ceo put ove konferencije, umesto da doputujem sinoć. Nadam se da ćemo podeliti neke stvari kako dan bude odmicao. Ali hvala vam najlepše što ste me trpeli!
(Applause)
(Aplauz)
(Applause ends)
(Music)
(Music ends)
(Applause)