Evelyn Glennie：How to truly listen 关于聆听的艺术
I'm not quite sure whether I really want to see a snare drum at nine o'clock or so in the morning. 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. (Applause) One of the interesting things, of course, is the combination of that raw hand on the instrument and technology, and of course what he said about listening to our young people.
我一点也不确定是否我自己愿意看到 小军鼓，在晚上九点以后或是早晨 不论如何，非常荣幸看到座无虚席 也衷心的感谢 Herbie Hancock 以及他的同事为了这个伟大的表演所付出的的所有努力 很有趣的一件事 当然，是双手和表演乐器技艺的完美结合 以及如他所说聆听我们年轻人
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 play 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. (Music) And so on. My career would probably last about five years.
当然 我的工作全部是与听有关的 事实上，我的目标，是让世界学会聆听 那是我生命的唯一目标 这听起来很简单，但是确实是一个很艰巨的工作，非常艰巨 因为你知道，举个例子，当你看到一段音乐 现在让我来打开我的小机车包，希望能找到 一份画满了黑色小圆点的乐谱 打开它，然后读这段音乐 技术上来说，的确，我可以读懂它 我会根据乐谱上的拍子和节奏 演奏它，一字不拉地按照我所读到的 在这里，由于时间的关系 请允许我逐字的演奏前面的一两行。它很容易理解 这一段也一点都不难 但是到这里，让我看一下，这段音乐节奏很快 根据乐谱，我知道该敲哪里 该用鼓棒的哪一部分演奏 该用怎样的强弱力度 我发现这个小军鼓响弦是放下的 锁上响弦，放下响弦 因此，如果我把从乐谱上所读到的东西转移到乐器上，会是这种感觉 诸如此类。 我的职业很有可能只能持续五年左右
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 that 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. (Music) (Applause) Now my career may last a little longer!
但是 作为音乐家，我所做的一切却与音乐没有半点关系 来不及向老师学习的事 甚至是无法与老师谈及的事 但这是当你并不和你的乐器在一起时，你会发现的事 事实上变得很有趣，接着你想探索 通过这个很小小的鼓面 刚刚，我们感受了一个把乐谱翻译到乐器上的过程。 现在我们来感受一下演奏的过程 现在我的职业生涯或许可以持续的长一点了。
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, you know, 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.
但是其实是一样的，如果我观察一下您，我会看到 一个戴着粉色帽子的靓丽女士 您正在抓着一个泰迪熊，等等等等 所以我会得到一个基本的个人印象，比如您可能是个怎样的人，您的爱好是什么 您的职业，等等等等 但是，众所周至，这样的初次印象每个人都会得到 当大家在观察的时候。然后我们试图解释 但是，事实上，这是很表面的 同样地，当我看一段音乐的时候，我得到一个基本的概念 我在想，什么将会是技术上的难关，我到底要怎么处理 一些最初的感受
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 -- 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. 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 I have more dynamic with less effort. Much more. And I just feel, at last, one with the stick and one with the drum. And I'm doing far, far less.
但是，这完全不够 我在想Herbie的话 请听一听 首先，我们必须聆听我们自己 举个例子，当我拿着鼓棒，事实上我没有松开它 你能通过手臂感受到强烈的震动 你会确确实实地感受到，信不信由你， 与乐器本身以及鼓棒是分离的 然而事实上，我正紧紧的握着鼓棒 紧紧的握着它，奇怪的是我却感受到更多的分离感 如果我松开一些，让我的手和手臂作为更好的支撑 突然，我用相对少的力气得到更多的动力，多得多 最后我感觉到，一个离鼓槌很近，一个离鼓很近 我做的越来越少
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 ... (Music) And so on. If I think of myself as a musician ... (Music) And so on. There is a little bit of a difference there that is worth just -- (Applause) -- thinking about.
所以相同的道理，我需要时间与乐器一起 我需要时间和人们在一起才能去了解阐释他们 不仅仅是从表面上翻译它，而是演绎它。 例如，我来演奏一点音乐的片段 从我把自己看做是个会这门技术的人的角度来看 后者，人们称之为打击乐演奏者 等等......如果从我把自己看做一个音乐家的角度 等等......但即便是有些许的不同，那也值得 仔细想一想
And I remember when I was 12 years old, and I started playing tympani 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."
我记得在我12岁的时候 我开始演奏定音鼓和打击乐，我的老师说 “我们怎么开始去做呢？ 你知道，音乐与听是密切相关的” “当然，我同意您的观点。所以问题在哪呢？” 他说：“那么，你怎样来听这个，怎样来听那个呢？” 我说：“那么，您是怎样听的呢？” 他说：“我想我是通过这儿来听的。” 我说：“我想我也是，但是我还通过我的手来听。” 以及我的手臂，颧骨，头皮，胃，胸部，我的腿等等
And so we began our lessons every single time tuning drums -- in particular, the kettle drums, or tympani -- to such a narrow pitch interval, so something like ... that of a difference. Then gradually ... and gradually ... 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 ... can be felt with just the tiniest part of your finger, there.
从那以后，每节课的一开始，我们都会调整鼓 尤其是定音鼓 使其处于很窄的音域里，就像这样 有些许不同 。然后逐渐的变化，一点一点地 令人惊奇的是，当你的身体完全打开 张开双手使震动穿过 事实上，极为微小的不同 都可以被你手指上最微小的部分感知
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, I mean, subject to all sorts of things. The room we happen to be in, the amplification, the quality of the instrument, the type of sticks ... etc., etc. They're all different. 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.
因此，我们常做的就是我会把双手贴在 音乐教室的墙上，这样就能听到乐器所发出的声音 仔细地感受那些声音 效果远远好于只是依靠耳朵 这当然是因为，我是说，耳朵受制于很多因素 我们现在所在的房间，扩音效果，乐器的音效 鼓棒，等等等等 都是不一样的 同样的重量，但是不同的声音色彩 就如同我们一样，我们是普通的人类 但我们都有自己本身独特的，不易察觉的声音色彩 组成了人的独特的个性 特点以及对事物的不同兴趣
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.
当我年纪大些，我参加了伦敦皇家音乐学院的甄选 他们说：“恩，不，我们不能录取你，因为我们没有先例 你知道，培养一位将来的，所谓的‘失聪’音乐家。” 我无法接受这样的解释 因此，我对他们说：“看着吧，如果你们 是因为那些原因拒绝我 却忽略了表演的能力，对音乐的理解 以及对创造音乐艺术的挚爱 我真想象不出，到底你们想要招收的学生是怎样的 结果就是，我们跨过一个很小的障碍，获得了再次甄选的机会 他们录取了我。结果还不仅如此 在当时，它改变了 英国范围内所有音乐学院的整个角色
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. 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 -- (Applause) -- is quite simply that not only were people connected with sound -- which is basically all of us, and we well know that music really is our daily medicine.
在任何情况下，他们都不能拒绝任何申请者 仅仅基于他有没有胳膊或者腿等等 他们很可能仍然可以演奏管乐器，只要乐器支好 无论任何情况，都不应该习惯于去决绝任何申请 每一个都申请者都应该被聆听，被感受， 基于音乐上的才能，然后再决定这个人是否被录取 这就意味着，有相当一部分有趣的学生 能够在这些多元化的音乐学院学习 我不得不说， 现在他们当中的很多人 遍布于世界各地的专业管弦乐团 但是，有意思的也是 （鼓掌） 其实很简单，人们不仅仅于声音连系在一起 基本上是我们所有的人，我们都深知音乐其实是我们的生活良药
I say "music," but actually I mean "sound." Because you know, 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. (Music) 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 ... (Music) 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.
我所说的音乐，其实就是指声音 其实，我所经历的一些非比寻常的事情 作为一个音乐家，你可能有一个15岁的男孩 他有很多不可思议的挑战 他可能无法控制自己的行动 也有可能是失聪的，失明的等等等等 突然，如果这个年轻的小伙子坐在乐器旁边 甚至躺在木琴底下 然后你弹奏一个非常像木琴的声音 可能我拿的鼓棒不对 但和这个差不多。 换一下 一些特别简单的 但，他可能感受到我所不能感受到的东西 因为我在声音的上方 声音从这个方向传来 而对他来说，声音是从共鸣器里传来的 如果没有共振器的话， 他可能会听到一个饱满的声音，而坐在前排的你们 不一定能感受到这样的声音，当然，后排也不会 我们每一个人，取决于我们坐在哪里。 对于同一声音都会有完全不同的感觉 当然，作为创造声音的参与者 这始于我想创造怎样的声音 例如，这个声音
Can you hear anything? Exactly. Because I'm not even touching it. But yet, we get the sensation of something happening. In the same way that when I see 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.
你们能听到什么 没错，因为我还没有碰到它呢 但是，我们感觉到有什么事情在发生 同样地，当我看到树在动时 我可以想象到，树发出瑟瑟的声音 明白我的意思吗 无论眼睛看到什么，总有声音随之进行 因此，常常会有 确切地说，千变万化的东西作为我的声音源泉
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. (Music) 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 ... (Music) 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. May be great there, but terrible up there. Maybe terrible over there, but not too bad there, etc., etc.
因此，我所有的表演都基于我的一些经历 学会一段音乐，不是加入别人的理解 或是研究一些与那段音乐有关的光盘，等等等等 因为那样不会让我接触到最原始的东西 那种让我可以完全感受过程的东西 所以很有可能，在某些演奏厅里，这样的强弱力度会很不错 可能在其他地方，人们肯能一点也不会有那样的感受了 因此，我发出的轻声， 柔和的声音可能是这样的 明白我的意思了吗? 因此，就因为获取声音的这个特别因素 特别是对于聋人群体来说 这不仅仅影响了聋人音乐学院 处理声音的方式。 同时也不仅仅是治疗的一种方式而已 当然，作为一个音乐的参与者 我完全同意这样的观点 但这意味着，声学工作者需要去仔细考虑一下演奏厅的类型 他们所选择的。 在这个世界上，很少有演奏厅 有很棒的音响效果 我敢说。 但即便如此，你仍然可以展开想象的翅膀，去做任何事 最微小，最轻柔的声音对某些东西来说或许它很广阔 很巨大，无法想象。 总有一些东西 在这儿或许听着很不错，在那儿了又或许不那么好 在那儿或许很棒，但在上边却糟糕透顶 在那儿简直是个噩梦，但在这儿听着还不错呢 ，等等等等
So to find an actual hall is incredible -- for which you can play exactly what you imagine, without it being cosmetically enhanced. And 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, you know, 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? You know, they're deaf." We just -- we go like that, and we imagine that 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.
所以找到一个真正意义上合适的演奏大厅是不可能的 像你想象到的那样的效果 并非表面上的修饰和放大 因此，事实上，声音工作者是在和一些 听力受损的人们探讨这个问题，事实上他们也是声音的参与者 这一点其实很有趣 我还不能透露目前的进展如何 关于演奏厅的效果，但意义重大的是，他们正向这样一群人寻求帮助 多年来我们常常议论的这样一群人 “瞧，到底他们怎样感知音乐呢？要知道，他们可是失聪的。” 我们一直这样，我们想象着聋人应该是怎样的 或者我们也这样，我们想象着失明的人应该是怎样的 当我们看到有人坐在轮椅上，我们就认为他们不会走路 或许，事实上他们可以走上好几步。 而这，对他们来说，意味着 或许一年以后，他们可以一次多走两步 再过一年，他们可以多走三步
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. Oh no, I don't like that piece." And so on. And you know, 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, it's just 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.
这其实是很值得好好思考的地方 因此，当我们真正彼此倾听的时候 我们应该先测测自己倾听的本领 真正地把我们的身体作为共鸣腔。 停止表面的判断 对我来说，作为一个99%都在与新音乐打交道的音乐家 要说出“噢，对，我喜欢这首。 噢，不，我不喜欢那首。”等等这样的话是很容易的事 但我发现我应该给与那些音乐更多时间的关注 有可能，仅仅是我和那首歌之间并没有很好的化学反应 但这并不代表着我有权利评价，这不是首好曲子 其实，这是作为音乐家感觉最棒的一点 是种让人难以想象的液体 因此，没有规则，没有对错，没有这样那样的方式
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. (Applause)
如果我让大家发出拍击声，或许我可以这么做 如果我说：“请大家发出拍击声。” 发出打雷般的声音 假设大家都知道打雷是怎样的声音 现在，我说的不是声音本身 我所说的意味着真正地全身心地去听雷声 然后通过拍击发出打雷般的声音，请大家试一试 （鼓掌）
Very good! Snow. Snow. Have you ever heard snow?
很好！那么下雪的声音呢，大家听过吗？
Audience: No.
观众：没有
Evelyn Glennie: Well then, stop clapping. (Laughter) Try again. Try again. Snow.
Evelyn Glennie：那么，停下来吧。（笑声）再试一试 试一试 ，下雪的声音
See, you're awake.
看吧，大家睡醒了
Rain. Not bad. Not bad.
下雨的声音呢？ 还不错，还不错
You know, 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 ... (Claps) 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 that 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.
大家知道吗，其实很有意思的是，我曾经也让一群孩子 不久以前做过完全一样的事情 现在，非常好的想象力，谢谢大家 然而，你们中没有一个人离开座位去想一想 “好，该怎样发出拍击声呢？好的，或许...... 或许我可以用随身的配饰去创造些不一样的声音 又或许我可以用身体的其他部位发出一些其他声音 没有一个人尝试用些许不一样的方式发出拍击声 除了坐在座位上，拍动自己的双手 当我们听音乐其实也是同样的道理 我们以为我们只能通过这里感受它 这就是我们如何感受音乐。 当然事实并非如此
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 probably just 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."
我们感受雷声——雷声，雷声，想一想 听一听 现在，我们怎样处理雷声呢？ 我记得我的一位老师，当我开始学习音乐的时候，我最早的课程 我准备好了鼓棒，信心满满 然而，他却说：“好的，Evelyn ，双脚略微分开， 双臂大约成90度，保持鼓棒成大约v字形 保持这样的空间，等等 把背挺直，等等等等” 当时，最后我变得很僵硬，像被冻住了一样 我也很可能不能学会敲鼓 因为我一直在想着其他的事情，他对我说： “Evelyn，把这个鼓带回去七天，我下周再来看你。”
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, experimented with the head. Experimented with my body, experimented with jewelry, experimented with all sorts of things. And of course, I returned with all sorts of bruises and things like that -- but nevertheless, it was such an unbelievable experience, because then, 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.
我的天哪！我该怎么做呢？我不能再要拿鼓棒了 老师不允许我用这些鼓棒了 我只能看着这个鼓 研究一下它是怎么做成的，小把手是做什么用的，响弦有是干什么的 把它翻过来，试试它的外壳，它的鼓面 用我的身体尝试敲打他，用我的配饰 用一切可以用的东西尝试 当然，结果是归还的时候，我伤痕累累 不过，这是一次非常特别的经历 因为那段经历，在一段音乐中，究竟在哪里你能有那样的感受呢 在一本教科书中，究竟在哪里你能有那样的感受呢？ 因此，我们从来没有真正地在研究教科书上的东西 举个例子，我们曾经学过一种演奏方法 作为一个打击乐演奏家，而并非音乐家，当我们处理音乐的时候 就是最基本的单击滚奏（专业术语）
Like that. And then we get a little faster and a little faster and a little faster. And so on and so forth. What does this piece require? Single stroke rolls. 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." "Oh, 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.
像这样 然后快一些，再快一些，再快一些 诸如此类 这段该怎样呢？ 单击滚奏。 那么为什么我不可以在学一段音乐的首用这种手法呢？ 那正是他所做的 有意思的是，随着年龄的增长，当我成为了专业学生以后 在所谓的“音乐学院”，那些疑惑都消失了 我们开始学习书本 “为什么？为什么？学这些有什么用呢？”这些问题常常出现在我的脑海里 我需要去演奏音乐。“噢，学习这些会帮住你学会控制！” 那么，怎么用它学会控制？为什么我需要学这些？我需要把它和音乐联系起来 你知道，我需要说些什么
"Why am I practicing paradiddles? 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.
为什么我要练习复合式打点 真的是为了很好地控制吗？为了控制鼓棒？为什么我要这么做？ 我需要知道答案 而答案需要通过音乐告知 通过音乐，实际上就是通过声音 这样以来，我们可以把所有的东西传递给所有的人 但我不想为大家的情绪包袱负责 这由你决定，当你走进一座演奏大厅 因为这样，决定了我们怎样去听一些东西 我可能觉得很悲伤，或者很高兴，或者很雀跃，或者很生气，当我演奏 某段音乐的时候，但我不应该 让大家感受到我的这种情绪 因此，下次当大家去演奏会的时候 让自己的身体打开，让它成为你的共鸣腔 确定你不会受到演奏者情绪的影响
The performer is in the worst possible position for the actual sound, because they're hearing the contact of the stick 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! (Applause)
演奏者可能正位于声音最不好的位置 他们听到的是鼓棒碰触鼓面的声音 或是木槌碰触木块的声音，又或是弓碰触弦的声音，等等 或是为了发出声音而吹动管乐器的呼吸声 他们感受的就是那些最原始的声音 然而，他们感受到的恰巧就是那种最纯粹的声音 其实是声音发出前的一瞬间的感觉 请记住声音从一开始敲打到产生的整个过程 或是，从呼吸开始 试着感受声音产生的整个旅程 就如同我自己度过了整个旅程一般 今天的这次会面，尽管昨天晚上才到达这里 我希望我们可以有机会在以后的时间里交流心得 非常感谢大家的聆听与关注 (鼓掌)
本文地址：http://www.dioenglish.com/writing/speech/14328.html
