I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning.
我不太肯定到底自己是否真的想在早上九點 就見到小軍鼓
(Laughter)
但是,很高興見到全場座滿
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.
很多謝Herbie Hancock 和他的同事 一仵很有趣的事
(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.
手和樂器的結合 加上科技,和年輕人的意見 當然,聆聴是我的本份
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.
我的目的是教你們去聆聴 這是我的人生目的 似易實難 因為你知道,當你聽音樂時 如果我打開我的小摩托車袋 - 我們這裡,希望有 一塊音樂,充滿黑色的小點在頁面上 而且,你知道,我們打開它,讀音樂。 在技術上,其實我可以閱讀 我將遵循指示,節奏和強弱標記 我將會本本分分的進行演奏 因為時間短, 如果我只“老實”地演奏一兩行樂譜。這非常簡單。 這段音樂并沒什麼難的。 但在我知道這曲子很快。 我知道敲擊鼓面的哪個部份, 也知道運用鼓槌的哪個部份。 而且我也知道強弱變化。 而且我知道這一段不需要開啟響弦 開響弦,關響弦。 所以,如果我原原本本地“翻譯”這段音樂,就會聽到如下效果。
(Drum sounds)
(Drum sounds end)
就像這樣。我的職業生涯也許最多五年。
And so on. My career would probably last about five years.
(Laughter)
但是,作為一個音樂家,我的工作是從樂譜中“無中生有”
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.
所有那些沒時間與老師學習, 甚至探討的東西。 但這些東西恰恰是在你與樂器分離時才能感受到的。 它們很有趣, 而你則想通過這個小小的鼓面來發現它們。 好了,我們已經體驗了什麽是原原本本的翻譯。現在我們來體會一下什麽是“演繹”
(Drum sounds)
(Drum sounds end)
(Applause)
現在我的職業生涯也許能稍稍延長一點!
Now my career may last a little longer.
(Laughter)
但是在某種意義上說,這就像,我把你打量一番,
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.
看到一個身著粉妝的年輕聰穎的姑娘。 我看到你抱著一個泰迪熊,如此如此。 於是我對你有了一個基本印象,你手頭可能的活計,你可能喜歡的東西, 你的職業,如此如此。 但是,那隻是我們打量一番后 得到的最初的基本印象。然後我們開始演繹, 但實際上這卻是如此的膚淺 同樣的,我閱讀音樂,產生一個基本的想法, 我思量一番,有什麽技術難關,或者,我想如何演繹。 僅僅是最基本的感覺。
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 --
但是,這肯定遠遠不夠。 我想到了Herbie所說的——聆聽吧,聆聽吧。 我們首先要做的,是聆聽我們自身。 比如,如果我緊握鼓槌,完全不鬆開的進行演奏
(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.
手臂就會感到強烈的震動 然後就感到,信不信由你 一種與樂器和鼓槌的分離感。 即使實際上我確實是緊握鼓槌的。
(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 --
但是,真是由於緊握著它,我才感到奇異的分離感。 如果我稍稍放鬆,讓手臂,手掌更多的進行支撐, 那麼我就會以更少的力量獲得更大的響度。比剛才大得多。
(Drum sound)
I have more dynamic with less effort. Much more --
(Drum sound)
然後我終於感到手臂和手與鼓槌、鼓面成為一體。
and I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
而實際上我做的是更少了,而非更多。 所以正如我需要時間去感受樂器,
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 --
我也需要時間去感受人們,從而去演繹音樂。 不僅僅是翻譯樂譜,而是演繹音樂。 比如,我打上幾小節, 以一種純技術的方式來處理它們, 就是說,完全以打擊樂者的視角來處理音樂,
(Marimba sounds)
(Marimba sounds end)
效果就是這樣的。但是如果我以音樂家的視角來演奏,
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 --
效果就是這樣的。儘管只有一點小小的區別,(掌聲)
(Applause)
我認為還是值得思考的
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."
我記起我12歲時, 我開始演奏定音鼓和打擊器樂,老師對我說, “我們怎麼進行呢?你知道,音樂關乎聆聽。” “是呀,我完全同意,怎麼了?” 他說,“可是你如何才能聽到這個,聽到那個呢?” 我說,“那你怎麼聽呢?” 他說,“嗯,我想是用這兒聽的。” 我說,“嗯,我想我也是,但是我還可以用雙手, 用雙臂,用顴骨,用頭骨,用肚子,用胸膛,用雙腿去聽。”
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 --
於是每節課一開始,我們都對鼓進行調音。 尤其是定音鼓。 先調到一個小音程,就像這個
(Marimba sounds)
that of a difference. Then gradually:
然後逐漸縮小,再縮小
(Marimba sounds)
And gradually:
(Marimba sounds)
令人驚奇的是,當你完全把身體打開,
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 --
把雙手打開以便讓震動穿透的話, 那麼實際上,就算是很細微的差別,
(Marimba sounds)
也可以被指頭微妙的感受到。
can be felt with just the tiniest part of your finger, there.
所以我們做的就是我把手放在音樂教室的牆上,
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 --
然後我們一起聆聽各種樂器的聲音, 以一種更加開放寬廣的方式與它們相連接, 遠勝於只依靠耳朵的單純聆聽。 因為耳朵顯然受制于很多東西。 我們所處的房間,擴音效果,樂器的質量, 不同的鼓槌,如此如此。
(Marimba sounds)
(Marimba sounds end)
Etc., etc., they're all different.
這些都是不同的。
(Marimba sounds)
(Marimba sounds end)
重量一樣,但音色不同。
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.
但其實這就是我們本身,我們是人, 但每個個體都有自身的“音色” 塑造了我們形形色色的個性 品質,興趣愛好等
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.
當我長大些的時候,我去英國皇家音樂學院面試。 他們說,“不行,我們不能讓你入學,因為我們的確是不知道 聾人音樂家能有什麽樣的未來。” 我實在是不能接受。 所以我跟她們說,“好吧,如果你拒絕, 如果你拒絕我是因為那些理由, 而不是因為演奏能力或是對於 創造聲音這種藝術的理解與熱愛, 那麼我們很難理解你們到底要招收什麼樣的學生。” 所以,克服了一點小障礙之後,我們得做兩次面試, 他們接受了我,而且不僅如此 這件事改變了 全英國音樂學院的入學標準。
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 --
任何學校都不得以某人沒有手臂,沒有雙腿 等理由而拒絕他。 也許他們仍可以演奏管樂,如果樂器能固定在支架上的話。 他們不得無端拒絕任何申請者。 每一個申請者都應該被聆聽,被體驗 然後以音樂能力來決定是否招收他。 所以這就意味著在各種音樂學院里 有很多各種各樣的有趣的學生 而且我得說,他們中的很多人 都在世界各地的專業管弦樂團中演奏。 有趣的是, (掌聲)
(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.
人們不僅僅與聲音相連, 而且我們所有人都知道音樂是我們日常良藥。 我說音樂,但實際上是聲音。
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 --
因為,作為音樂家,我經歷一些非同尋常的事情。 比如一個十五歲的男孩兒, 自身有很多難以克服的困難, 他也許不能控制自己的身體運動, 他也許失聰,失明,如此如此。 但當他靠近這個樂器坐下, 或者甚至是躺到馬林巴琴底下, 然後我演奏了一段音色類似管風琴的音樂 我沒帶合適的鼓槌,也許 就是類似的這樣一段,讓我換一下。
(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:
一段簡單的不能再簡單的音樂。 但是他卻體驗到了我所體驗不到的東西。 因為我在聲音的上方。 聲音是這麼沖我來的。 而對於他,聲音卻直接來自共鳴腔。 如果沒有共鳴腔的話,效果就會是這樣
(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:
所以他所體驗的飽滿的聲音,無論是坐在前排的 還是後排的人都體驗不到的 每個人,因為所處位置的不同 都體驗到不同的聲音。 當然,作為聲音的參與者, 我會思考我想創造什麼樣的聲音。 比如這個聲音。
(No sound)
Can you hear anything? Exactly -- because I'm not even touching it.
你們聽到什麽了麽? 沒錯。因為我連碰都沒碰呢。
(Laughter)
但是,我們卻感覺到的確在發生什麽。
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.
就像我們開到樹枝搖曳, 然後我能想像葉子嘩啦作響。 你們明白我的意思嗎? 眼睛見到的任何事情,聲音都伴隨著產生。 所以每時每刻, 靈感都從五彩斑斕的世界中產生。
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.
我的所有演奏都完全基於我自身的體驗, 而不是記下一段音樂,模仿某人的演繹, 購買這件作品的所有唱片,如此如此。 因為這樣做我體會不到那種原始的基本的東西 這種東西才是我能完全的、飽滿的體歷的。 有些音樂廳,這樣的聲量就夠了。
(Soft marimba sounds)
(Soft marimba sounds end)
但是在其他的音樂廳,可能
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 --
根本聽不到,所以我的輕聲、 柔和的聲量可能是這樣:
(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.
懂了嗎?也就是因為這種聲量放大, 特別是因為聽障朋友的緣故, 這不只影響了音樂學院 以及啟聰學校對聲音的處理。這也不僅被視為是一種治療方法-- 當然身為音樂人, 治療也是一部份。 但這也代表聲學工作者必須仔細考量 他們所設計的演奏廳。世界上 有好的音效的演奏廳,少之又少。 所謂好,就是說你可以盡情發揮想像力為所欲為的地方。 從最小、最輕、最柔的聲音到很大、 很響、很炫的聲音!但是事實是, 有些聲音這裡聽起來很好,但那邊卻不行; 這裡可以,但那邊卻很糟; 又有可能那邊很糟,可是另一邊還不錯,等等。
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.
要找到一個真正好的, 完全可以達到你想要的演奏效果 而不需進過任何修飾的演奏廳幾乎是不可能的。 所以音響學家正在與聽障的音樂人 共同探討。 這非常有趣。 雖然我還不能告訴你們有關演奏廳一些進行當中的細節, 但光是向這一群人諮詢 這一群長久以來被認為 「他們感受得到音樂嗎?他們是聾子啊。」 我們這樣做,就憑空想像說失聰是這樣的。 或者這樣就是失明。 我們看到作輪椅的人,就認為他不會走路。 但其實他們可能會走個三、四、五步。對他們而言,這就代表他們能走。 一年後,可能可以多走兩步。 再一年,多三步。
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.
這些都是很值得思考的,很重要的方面。 所以在互相聆聽時, 仔細考驗我們聆聽的技巧是難以置信的重要。 把我們的身體當作共鳴箱。不要過於武斷。 身為音樂家,我處理的音樂有99%是“新”的, 很容易說:“噢,對,這個我喜歡。 這個我不喜歡。”如此如此。 我覺得,我要在那些音樂作品上花一些時間, 可能是我對這首曲子還沒感覺。 但這並不表示我有權利說這個作品不好。 而這是身為音樂家最棒的一點, 就是超乎想像的自由。 因此,沒有任何規則,沒有對,錯,該這樣,該那樣。
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.
如果我要求你們鼓掌,也許我可以這麼做。 如果我說,鼓掌吧,創造雷鳴般的聲音。 我假定大家都知道雷鳴是什麼樣的。 我不僅僅指聲音本身, 我希望你們能用自身體驗雷鳴。 試著雷鳴般的鼓掌,試一下,就一下。
(Loud clapping sounds)
(掌聲)
(Clapping ends)
很棒!下雪,雪。你們聽過下雪么?
Snow.
(Laughter)
Snow.
(Soft clapping sounds)
Have you ever heard snow?
觀眾:沒。
Audience: No.
Evelyn Glennie:所以嘛,別鼓了。(笑聲)再試試。
Evelyn Glennie: Well, then, stop clapping.
(Laughter)
Try again. Try again: snow.
再試試,下雪。
(No sound)
See, you're awake.
看,你們開竅了。
Rain.
下雨。還不錯,不錯。
(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:
有趣的是,我曾經讓一群孩子做過同樣的事。 就在不久之前。 好了——很棒的想像力,謝謝你。 但是,你們沒有一個人離開座位想一想, “好吧,我怎麼鼓掌呢?也許這樣
(Clapping sounds)
也許用我的珠寶首飾來製造點雜音
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.
也許用我身體的其他部位” 沒人想到用稍微特別點的方式來鼓掌。 人人都是正襟危坐,用雙手鼓掌。 聽音樂也是如此。 我們先入為主的認為音樂完全就是在這兒的。 這就是我們如何體驗音樂。實際上當然不是這樣。 我們體驗雷鳴。雷鳴雷鳴,好好想一想。
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."
聆聽吧。我們拿雷鳴怎麼辦呢? 我記起我的老師。我剛起步時,第一堂課, 我準備好了鼓槌,興奮不已。 但是他卻說,“好了,Evelyn,這樣做。雙腳站開些。 雙臂呈直角,鼓槌呈V型。 這兒留一點距離,如此如此。 挺直腰背,如此如此。” 那時我肯定是全身僵直, 而且也不能敲鼓了, 因為當時我得顧及這麼多事情。他說, “Evelyn,把這鼓帶回家七天,下周見。” 老天!我做什麽呢?我不需要鼓槌了,
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.
事實上我被禁止使用鼓槌。 所以我就打量著這隻鼓, 看看它是什麽做的,這些小把手是做什麽用的,響弦又是什麽。 把它翻過來,用貝殼試試,用頭試試。
(Drum sounds)
Experimented with the head.
(Drum sounds)
用身體,首飾,
Experimented with my body.
(Drum sounds)
Experimented with jewelry. Experimented with all sorts of things.
用各種東西體會。
(Drum sounds)
(Drum sounds end)
And of course, I returned with all sorts of bruises.
當然了,回課時我遍體鱗傷。
(Laughter)
但是那些卻是寶貴的經驗。
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.
因為,在一段音樂中,你去哪兒體會這所有的一切? 在課本你去哪兒體會? 所以事實上我們沒學過課本。 比如,當作為一個打擊樂手, 而並非一個音樂家,我們所學到的 就是這樣直來直去的打節拍。
(Drum sounds)
就像這樣。然後快一些,再快一些。
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.
就這樣來回打。這段是什麽? 單一敲擊。那麼我爲什麽不能做這個呢?
(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.
這恰恰就是他所做的 有趣的是,當我長大些,成為一個全職學生, 在所謂的音樂學院上課的時候,這些東西通通沒有。 我們不得不學習課本。 可我不斷地要問,到底爲什麽?這到底有什麽關係? 我需要演奏一段音樂。“噢,這有助於你的控制力!” 怎麼個有助法?我憑什麼非得學這個?我必須要把它應用在某一段音樂上。 你知道,我得說點什麽。
Why am I practicing paradiddles?
我爲什麽要打paradiddle?
(Drum sounds)
只是爲了掌握手與鼓槌的控制?我爲什麽要做這個?
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.
我必須得到答案。 而答案只能從音樂中來。 通過音樂進行表達,音樂實際上是聲音, 我們可以體驗到各色人物,各色事物。 但是我並不想為你們的感情負責。 當你們走進音樂廳時,你們得為自己負責。 因為那決定了我們如何聆聽,并聽到了什麽。 當我演奏某些音樂時,也許我感到悲傷,或幸福,或狂喜,或憤怒 但是我并不必要的把它們 強加在你們身上。 所以,請你們下次走進音樂廳時, 打開你們的身體,讓你們的身體成為共鳴腔。 其實你們體驗到的並不完全是演奏者體驗到的。 也許就聲音聞言,演奏著的位置可能是最糟的,
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick --
他們聽到鼓吹敲擊鼓面的聲音,
(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!
或者是木頭的聲音,或者是弓弦的摩擦,如此如此。 或者是吹奏管樂時的呼吸聲。 他們體驗到的是原始的聲音。 但同時也是最純淨的聲音, 是聲音發生之前的聲音。 請注意敲擊之後聲音的整個歷程, 或呼吸的過程。體驗一下聲音的整個生命, 就像我多希望我能體驗到 這次大會的全過程一下,而不是昨晚才抵達這兒。 我希望在接下來的一天我們能有所交流。 謝謝邀請。
(Applause)
(掌聲)
(Applause ends)
(Music)
(Music ends)
(Applause)