How to truly listen | Evelyn Glennie

Prevoditelj: Zvonimir Mimica Recezent: Ivan Stamenković

Nisam potpuno sigurna želim li vidjeti

I'm not quite sure whether I really want to see a snare drum

at nine o'clock or so in the morning.

bubanj u devet, ili koliko već sati ujutro.

(Laughter)

But anyway, it's just great to see such a full theater,

U svakom slučaju, sjajno je vidjeti ovako popunjenu dvoranu;

and really, I must thank Herbie Hancock and his colleagues

i stvarno se moram zahvaliti Herbiu Hancocku

i njegovim kolegama na zaista izvrsnoj prezentaciji. (Pljesak)

for such a great presentation.

(Applause)

Jedna od zanimljivih stvari,

One of the interesting things, of course,

naravno, jest kombinacija sirove ruke na instrumentu

is the combination of that raw hand on the instrument and technology,

i tehnologije, i naravno ono što je rekao o slušanju naših mladih ljudi.

and what he said about listening to our young people.

Of course, my job is all about listening.

Naravno, moj posao je u cijelosti u slušanju,

And my aim, really, is to teach the world to listen.

i moj je cilj, u biti, naučiti svijet slušanju.

That's my only real aim in life.

To je moj jedini pravi cilj u životu.

And it sounds quite simple, but actually, it's quite a big, big job.

I to zvuči prilično jednostavno, ali zapravo to je prilično velik posao.

Because you know, when you look at a piece of music, for example,

Jer, znate, kad pogledate glazbeno djelo -- na primjer,

if I just open my little motorbike bag --

samo da otvorim moju malu motorističku torbu -- tu imamo, nadam se,

we have here, hopefully,

a piece of music that is full of little black dots on the page.

glazbeno djelo koje je puno malih crnih točaka na stranici.

And, you know, we open it up ...

I tako, rastvorimo ga i ja pročitam glazbu.

And I read the music.

So technically, I can actually read this.

Tehnički gledano, stvarno ovo mogu pročitati.

I will follow the instructions, the tempo markings, the dynamics.

Slijedit ću upute, oznake tempa, dinamiku.

I will do exactly as I'm told.

Radit ću točno kako mi je rečeno.

And so therefore, because time is short,

I eto, kako sam u nedostatku vremena,

if I just played you, literally, the first, maybe, two lines or so --

mogla bih vam odsvirati doslovno prva dva, tri retka. Sve kao po traci.

It's very straightforward; there's nothing too difficult about the piece.

Ništa preteško.

Ali ovdje mi je rečeno da je ovo djelo vrlo brzo.

But here, I'm being told that the piece of music is very quick.

Rečeno mi je gdje na bubnju svirati.

I'm being told where to play on the drum.

I'm being told which part of the stick to use.

Rečeno mi je koji dio palice trebam koristiti.

And I'm being told the dynamic.

I rečeno mi je koja je dinamika.

And I'm also being told that the drum is without snares.

I također mi je rečeno da je bubanj bez snara.

Snares on, snares off.

Snar podignut, snar spušten.

So therefore, if I translate this piece of music,

I tako, ako prevedem ovo djelo, imamo ovu ideju. (Glazba)

we have this idea.

(Drum sounds)

(Drum sounds end)

And so on.

I tako dalje. Moja karijera bi vjerojatno trajala oko pet godina.

My career would probably last about five years.

(Laughter)

However, what I have to do as a musician

Međutim, što kao glazbenica trebam učiniti jest sve ono što nije u notama.

is do everything that is not on the music;

everything that there isn't time to learn from a teacher,

Sve ono za što nema vremena za naučiti od učitelja,

or to talk about, even, from a teacher.

čak ni za razgovor o tome s učiteljem.

But it's the things you notice when you're not actually with your instrument

Zapravo, stvari koje primjećujete kad niste za svojim instrumentom

that, in fact, become so interesting, and that you want to explore

su u biti one koje postaju tako zanimljivima, i koje želite istraživati

through this tiny, tiny surface of a drum.

preko ove sićušne, tanke površine bubnja.

So there, we experience the translation.

I tako, doživjeli smo prijevod. A sad - interpretaciju. (Glazba) (Pljesak)

Now we'll experience the interpretation.

(Drum sounds)

(Drum sounds end)

(Applause)

Sad će moja karijera možda trajati i malo duže!

Now my career may last a little longer.

(Laughter)

Ali na neki način, znate, to je isto kad ja 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.

finu vedru mladu damu u rozoj majici.

I see that you're clutching a teddy bear, etc., etc.

Vidim kako stišćete medvjedića, itd., itd.

So I get a basic idea as to what you might be about,

I tako stičem okvirnu ideju o tome kakvi ste, što bi vam se moglo sviđati,

what you might like, what you might do as a profession, etc., etc.

kakvim bi se zanimanjem mogli baviti, itd., itd.

However, that's just the initial idea I may have that we all get

Međutim, to je samo, znate, početna ideja koju bi mogla imati, svi mogli imati

when we actually look and we try to interpret.

kad zaista pogledamo, i pokušamo interpretirati,

But actually it's so unbelievably shallow.

ali to je, zapravo, nevjerojatno plitko.

In the same way, I look at the music; I get a basic idea;

Na isti način, pogledam note; dobijem osnovnu ideju;

I wonder what technically might be hard, or, you know, what I want to do.

zapitam se što bi tehnički moglo biti teško, ili, znate, što želim učiniti.

Just the basic feeling.

Samo osnovni osjećaj.

However, that is simply not enough.

Ipak, to jednostavno nije dovoljno.

And I think what Herbie said: please listen, listen.

I sjetim se što je Herbie rekao -- molim vas, slušajte, slušajte.

We have to listen to ourselves, first of all.

Moramo prvenstveno slušati sebe.

If I play, for example, holding the stick --

Ako sviram, primjerice, držeći palicu -- gdje doslovno ne ispuštam palicu --

where literally I do not let go of the stick --

(Drum sound)

you'll experience quite a lot of shock coming up through the arm.

osjeti ću prilično puno šoka kako prolazi gore kroz ruku.

And you feel really quite -- believe it or not --

I osjetit ću se -- vjerovali ili ne --

detached from the instrument and from the stick,

odvojeno od instrumenta i od palice,

even though I'm actually holding the stick quite tightly.

iako palicu držim prilično čvrsto.

(Drum sound)

By holding it tightly, I feel strangely more detached.

Držeći je čvrsto, čudno je da se osjećam više odvojenom.

If I just simply let go

Ako se opustim i dozvolim svojoj šaci, mojoj ruci, da budu više kao oslonac,

and allow my hand, my arm, to be more of a support system,

suddenly --

odjednom imam više dinamike s manje napora. Mnogo više.

(Drum sound)

I have more dynamic with less effort.

Much more --

(Drum sound)

and I just feel, at last, one with the stick

I jednostvano osjetim, konačno, s palicom i bubnjem kao da smo jedno.

and one with the drum.

And I'm doing far, far less.

A činim mnogo, mnogo manje.

So in the same way that I need time with this instrument,

I tako na isti način kao što mi treba više vremena s instrumentom,

I need time with people in order to interpret them.

treba mi vremena i s ljudima kako bi ih interpretirala.

Not just translate them, but interpret them.

Ne samo prevela, već interpretirala ih.

If, for example, I play just a few bars of a piece of music

Ako, primjerice, odsviram samo nekoliko taktova glazbenog djela,

for which I think of myself as a technician --

pritom zamišljajući sebe kao tehničarku --

that is, someone who is basically a percussion player --

odnosno, kao nekoga tko je u osnovi perkusionistica ... (Glazba)

(Marimba sounds)

(Marimba sounds end)

And so on, if I think of myself as a musician --

I tako dalje. A ako zamislim sebe kao o glazbenicu ... (Glazba)

(Marimba sounds)

(Marimba sounds end)

And so on.

I tako dalje. Postoji tu mala razlika o kojoj vrijedi -- (Pljesak)

There is a little bit of a difference there that is worth just --

(Applause)

thinking about.

-- razmisliti.

And I remember when I was 12 years old,

I sjećam se kad sam imala 12 godina

and I started playing timpani and percussion,

i počela svirati timpane i perkusije, kad je moj učitelj rekao:

and my teacher said,

"Well, how are we going to do this? You know, music is about listening."

"Dakle, kako ćemo ovo izvesti? Kao što znaš, bit glazbe je u slušanju."

And I said, "Yes, I agree with that, so what's the problem?"

A ja sam rekla: "Da, slažem se s tim. I u čemu je problem?"

And he said, "Well, how are you going to hear this?

A on je odgovorio: "Pa kako ćeš čuti ovo? Kako ćeš čuti ono?"

How are you going to hear that?"

And I said, "Well, how do you hear it?"

A ja sam rekla: "Pa kako Vi to čujete?"

He said, "Well, I think I hear it through here."

Odgovorio je: "Pa, mislim da čujem kroz ovo ovdje."

And I said, "Well, I think I do too, but I also hear it through my hands,

Rekla sam: "Pa, mislim da i ja također -- ali također čujem i kroz moje šake,

through my arms, cheekbones, my scalp,

kroz moje ruke, jagodice, tjeme, stomak, moj grudni koš, moje noge i tako dalje."

my tummy, my chest, my legs and so on."

And so we began our lessons every single time

I tako smo započinjali svaki naš sat naštimavajući bubnjeve --

tuning drums, in particular, the kettle drums, or timpani

posebice, timpane --

to such a narrow pitch interval, so something like --

na toliko uski interval visine zvuka, nešto poput

(Marimba sounds)

ovolike razlike. Zatim, postupno ... i postupno ...

that of a difference.

Then gradually:

(Marimba sounds)

And gradually:

(Marimba sounds)

And it's amazing that when you do open your body up,

i nevjerojatno je to da kad otvorite svoje tijelo

and open your hand up to allow the vibration to come through,

i svoje ruke kako bi propustili vibracije da prođu,

that in fact the tiny, tiny difference --

da se i ta sitna, sitna razlika ...

(Marimba sounds)

can be felt with just the tiniest part of your finger, there.

može osjetiti i s najsitnijim dijelom vašeg prsta, tu.

And so what we would do is that I would put my hands

I tada bi radili slijedeće: ja bih stavila svoje ruke na zid

on the wall of the music room,

glazbene sobe i zajedno bismo "slušali" zvukove instrumenata,

and together, we would "listen" to the sounds of the instruments,

and really try to connect with those sounds

istinski pokušavajući povezati se s tim zvukovima

far, far more broadly than simply depending on the ear.

mnogo, mnogo šire nego samo oslanjajući se na uho.

Because of course, the ear is subject to all sorts of things.

Jer, naravno, uho je izloženo raznim stvarima.

The room we happen to be in, the amplification,

Prostorija u kojoj se nalazimo, pojačanje, kvaliteta instrumenata,

the quality of the instrument, the type of sticks --

vrsta palica ... itd., itd.

(Marimba sounds)

(Marimba sounds end)

Etc., etc., they're all different.

Sve su one različite.

(Marimba sounds)

(Marimba sounds end)

Same amount of weight, but different sound colors.

Ista količina težine, ali različite boje zvukova.

And that's basically what we are; we're just human beings,

I to je u osnovi ono što jesmo. Mi smo samo ljudska bića,

but we all have our own little sound colors, as it were,

ali svi imamo naše vlastite male boje zvuka, koje kao da

that make up these extraordinary personalities and characters

izgrađuju ove iznimne osobnosti

i karaktere i interese i stvari.

and interests and things.

And as I grew older, I then auditioned

Kad sam odrasla, bila sam na audiciji za Kraljevsku glazbenu akademiju u Londonu,

for the Royal Academy of Music in London,

and they said, "Well, no, we won't accept you, because we haven't a clue,

i oni su rekli: "Ne, nećemo Vas primiti, jer nemamo pojma,

you know, of the future of a so-called 'deaf musician.'"

znate, kakva je budućnost tzv. 'gluhog' glazbenika."

And I just couldn't quite accept that.

Ja to jednostavno nisam mogla prihvatiti.

And so therefore, I said to them, "Well, look, if you refuse --

I zato sam im rekla: "Pa, vidite, ukoliko odbijate --

if you refuse me through those reasons,

ukoliko me odbijate zbog tih razloga,

as opposed to the ability to perform

a ne zbog sposobnosti izvođenja i razumijevanja i ljubavi

and to understand and love the art of creating sound --

prema umjetnosti stvaranja zvuka --

then we have to think very, very hard about the people you do actually accept."

onda moramo razmisliti vrlo ozbiljno o ljudima koje zapravo primate."

And as a result, once we got over a little hurdle,

I kao rezultat -- kad smo već prebrodili prepreke, i poslije druge audicije ---

and having to audition twice,

they accepted me.

primili su me. I ne samo to --

And not only that,

what had happened was that it changed the whole role of the music institutions

ono što se dogodilo jest da je to promijenilo cijelu ulogu

glazbenih institucija diljem Ujedinjenog Kraljevstva.

throughout the United Kingdom.

Under no circumstances were they to refuse

Pod nikakvim uvjetima nisu smjeli odbiti ni jednu jedinu prijavu na osnovi toga

any application whatsoever

on the basis of whether someone had no arms, no legs --

ima li netko ili nema ruke, noge --

they could still perhaps play a wind instrument if it was supported on a stand.

i dalje bi moguće mogli svirati puhački instrument ukoliko bi bio na stalku.

Baš nikakve okolnosti nisu korištene kako bi se odbila bilo čija prijava.

No circumstances at all were used to refuse any entry.

And every single entry had to be listened to, experienced,

I svaki pojedini kandidat morao je biti saslušan, doživljen i zatim

and then, based on the musical ability,

na osnovi glazbenih sposobnosti -- ta bi osoba mogla biti primljena ili ne.

then that person could either enter or not.

And so therefore, this in turn meant

I stoga, ispalo je da se pojavila izuzetno zanimljiva

that there was an extremely interesting bunch of students

skupina studenata koja je pristigla u te razne glazbene institucije.

who arrived in these various music institutions,

and I have to say, many of them now in the professional orchestras

I moram reći, mnogi od njih su sad

u profesionalnim orkestrima diljem svijeta.

throughout the world.

The interesting thing about this as well, though --

Ono što je još zanimljivo u vezi ovoga, doduše --

(Applause)

(Pljesak)

is quite simply that not only were people connected with sound --

jest jednostavno to da ne samo da su ljudi bili povezani sa zvukom --

which is basically all of us --

što smo u osnovi svi mi, i dobro znamo da je glazba zaista naš svakodnevni lijek.

we well know that music really is our daily medicine.

I say "music," but actually I mean "sound."

Kažem "glazba", ali u biti mislim na "zvuk".

Because some of the extraordinary things I've experienced as a musician --

Jer znate, doživjela sam neke izvanredne stvari

kao glazbenica, kad imate 15-godišnjeg mladića

when you may have a 15-year-old lad

who has got the most incredible challenges,

koji pred sobom ima najzahtjevnije izazove,

who may not be able to control his movements,

koji možda nije u mogućnosti kontrolirati svoje pokrete,

who may be deaf, who may be blind, etc., etc. --

koji je možda gluh, možda slijep, itd., itd. --

suddenly, if that young lad sits close to this instrument,

i odjednom, ako taj mladić sjedne blizu instrumenta,

and perhaps even lies underneath the marimba,

ili čak legne ispod marimbe,

and you play something that's so incredibly organ-like, almost --

a vi svirate nešto što izuzetno podsjeća na orgulje, skoro --

I don't really have the right sticks, perhaps --

Nemam baš odgovarajuće prave palice, možda --

but something like this -- let me change --

ali nešto slično ovome. Samo da promijenim. (Glazba)

(Soft marimba sounds)

(Soft marimba sounds end)

Something that's so unbelievably simple --

Nešto tako nevjerojatno jednostavno --

but he would be experiencing something that I wouldn't be,

ali on bi doživio nešto što ja ne bih mogla,

jer ja se nalazim iznad zvuka.

because I'm on top of the sound.

Meni zvuk dolazi iz ovog smjera.

I have the sound coming this way.

Njemu bi zvuk dolazio putem rezonatora.

He would have the sound coming through the resonators.

Kad ovdje ne bi bilo rezonatora, imali bismo ... (Glazba)

If there were no resonators on here, we would have:

Tako bi on imao punoću zvuka koju vi iz prvih nekoliko redova

(Marimba sounds)

So he would have a fullness of sound

ne biste doživjeli, niti biste je i vi u zadnjih nekoliko redova doživjeli.

that those of you in the front few rows wouldn't experience,

Svatko od nas, ovisno o tome gdje sjedimo,

those of you in the back few rows wouldn't experience, either.

Every single one of us, depending on where we're sitting,

doživjet će ovaj zvuk prilično, prilično različito.

will experience this sound quite, quite differently.

I naravno, kao sudionica zvuka,

And of course, being the participator of the sound,

tj. počevši od ideje kakav zvuk želim proizvesti --

and that is, starting from the idea of what type of sound

primjerice, ovaj zvuk.

I want to produce, for example, this sound:

Možete li čuti bilo što?

(No sound)

Can you hear anything?

Točno tako. Jer čak ga i ne dodirujem.

Exactly -- because I'm not even touching it.

Ali ipak, stičemo osjećaj da se nešto događa.

(Laughter)

Na isti način kad vidim stabla kako se povijaju,

But yet, we get the sensation of something happening.

In the same way that when I see a tree moves,

tad zamislim to stablo kako stvara zvuk šuštanja.

then I imagine that tree making a rustling sound.

Shvaćate li što govorim?

Do you see what I mean?

Štogod oči vide, tada se uvijek događa i zvuk.

Whatever the eye sees, then there's always sound happening.

Tako da uvijek, uvijek postoji ta golema --

So there's always, always that huge --

hoću reći, upravo ovaj kaleidoskop stvari iz kojih možemo izvlačiti.

I mean, just this kaleidoscope of things to draw from.

I tako su sve moje izvedbe zasnovane u potpunosti na onom što doživljavam,

So all of my performances are based on entirely what I experience,

a ne na učenju glazbenog djela, preslikavanju nečije tuđe interpretecije,

and not by learning a piece of music,

kupnji svih mogućih CD-a s tim pojedinim glazbenim djelom, i tako dalje.

putting on someone else's interpretation of it,

buying all the CDs possible of that particular piece of music,

Jer to mi ne daje dovoljno nečega što je toliko sirovo i tako osnovno,

and so on and so forth,

because that isn't giving me enough of something that is so raw and so basic,

i nečega čije putovanje mogu doživjeti u svojoj punini.

and something that I can fully experience the journey of.

Može dogoditi da, u nekim dvoranama, ova dinamika može dobro uspjeti. (Glazba)

So it may be that, in certain halls,

Može se dogoditi da u drugim dvoranama, ljudi jednostavno to neće doživjeti

this dynamic may well work.

(Soft marimba sounds)

(Soft marimba sounds end)

It may be that in other halls,

uopće i stoga, moja razina mekanog,

they're simply not going to experience that at all,

nježnog sviranja će možda morati biti ... (Glazba)

and so therefore, my level of soft, gentle playing may have to be --

Shvaćate li što mislim? Tako, zbog ove eksplozije u pristupu zvuku,

(Marimba sounds)

(Marimba sounds end)

Do you see what I mean?

So, because of this explosion in access to sound,

posebice preko zajednice gluhih,

especially through the Deaf community,

ovo nije samo utjecalo na način kako glazbene institucije,

this has not only affected how music institutions,

kako se škole za gluhe odnose prema zvuku, i ne samo kao sredstvu terapije --

how schools for the deaf treat sound, and not just as a means of therapy --

mada naravno, kao sudionica glazbe,

although, of course, being a participator of music,

to je zasigurno također slučaj.

that definitely is the case as well --

Izgleda da su akustičari zaista morali razmišljati o vrstama dvorana

but it's meant that acousticians have had to really think

koje su gradili. Postoji tako malo dvorana u svijetu

about the types of halls they put together.

koje zaista imaju vrlo dobru akustiku,

There are so few halls in this world

that actually have very good acoustics, dare I say.

usuđujem se reći. S tim mislim na one u kojima možete raditi sve što zaželite.

Od najtišeg, najmekanijeg, najmekanijeg zvuka do nečega što je tako široko,

But by that I mean, where you can absolutely do anything you imagine.

The tiniest, softest, softest sound to something that is so broad,

tako golemo, tako nevjerojatno! Uvijek postoji nešto --

so huge, so incredible.

može dobro zvučati tamo gore, a ne tako dobro tamo.

There's always something:

it may sound good up there, may not be so good there;

Može biti sjajno tamo, ali užasno tamo.

it may be great there, but terrible up there;

Može biti užasno tamo, a ne tako loše tamo, itd., itd.

maybe terrible over there, but not too bad there, etc., etc.

I tako je pronalaženje određene dvorane nevjerojatno

So to find an actual hall is incredible --

-- u kojoj možete svirati točno što zamislite,

for which you can play exactly what you imagine,

bez kozmetičkog unaprjeđenja.

without it being cosmetically enhanced.

I stoga, akustičari u stvari razgovaraju s ljudima koji su

So therefore, acousticians are actually in conversation

oštećenog sluha, a koji su sudionici glazbe.

with people who are hearing impaired,

I to je vrlo zanimljivo.

and who are participators of sound.

And this is quite interesting.

Ja vam ne mogu dati niti jedan detalj o onome što se stvarno događa

I cannot give you any detail

s tim dvoranama, ali je činjenica da se obraćaju grupi ljudi

as far as what is actually happening with those halls,

za koje smo godinama govorili,

but it's just the fact that they are going to a group of people

for whom so many years, we've been saying,

"Pa, kako oni uopće mogu doživjeti glazbu? Znate, oni su gluhi."

"Well, how on earth can they experience music? They're deaf."

Mi samo -- učinimo ovo, i zamislimo da tako izgleda gluhoća.

We go like that, and we imagine that's what deafness is about.

Ili učinimo ovo, i zamislimo da tako izgleda sljepoća.

Or we go like that, and we imagine that's what blindness is about.

Kad vidimo nekoga u kolicima, pretpostavimo da ne može hodati.

Možda mogu napraviti 3-4-5 koraka. To, za njih, znači da mogu hodati.

If we see someone in a wheelchair, we assume they cannot walk.

It may be that they can walk three, four, five steps.

Za godinu dana, mogla bi biti još dva dodatna koraka.

That, to them, means they can walk.

In a year's time, it could be two extra steps.

Za još godinu dana, tri dodatna koraka.

In another year's time, three extra steps.

To su izuzetno važni aspekti za razmišljanje.

Those are hugely important aspects to think about.

Zato kad slušamo jedni druge,

So when we do listen to each other,

zaista je važno za nas zaista testirati naše vještine slušanja,

it's unbelievably important for us

kako bi koristili tijela kao rezonantnu komoru, kako bi prestali s osudama.

to really test our listening skills,

to really use our bodies as a resonating chamber,

Meni, kao glazbenici koja se susreće s 99% nove glazbe,

to stop the judgment.

For me, as a musician who deals with 99 percent of new music,

vrlo je jednostavno kazati: "O, da, sviđa mi se ono djelo.

it's very easy for me to say,

O, ne, ne sviđa mi se ono djelo." I tako dalje.

"Oh yes, I like that piece. No, I don't like that piece," and so on.

I znate, samo shvatim da moram posvetiti više vremena tim djelima.

And I just find that I have to give those pieces of music real time.

Može biti da kemija između mene i tog određenog djela nije ona prava,

It may be that the chemistry isn't quite right between myself

ali to ne znači da imam pravo reći da je to loše glazbeno djelo.

and that particular piece of music,

but that doesn't mean I have the right to say it's a bad piece of music.

Jedna od divnih stvari kad ste glazbenik,

jest da ste tako nevjerojatno prilagodljivi.

Nema pravila, pravog, niti krivog načina.

And you know, one of the great things about being a musician

Ako vas zamolim da zaplješćete -- možda mogu to učiniti.

is that it is so unbelievably fluid.

Ako samo kažem: "Molim vas zaplješćite i stvorite zvuk grmljavine."

So there are no rules, no right, no wrong, this way, that way.

Pretpostavljam da smo svi doživjeli grmljavinu.

If I asked you to clap -- maybe I can do this.

E sad, ne mislim samo na zvuk;

If I can just say, "Please clap and create the sound of thunder."

Mislim da stvarno slušate tu grmljavinu u sebi.

I'm assuming we've all experienced thunder.

Pokušajte to stvoriti svojim pljeskanjem, samo pokušajte.

Now, I don't mean just the sound;

(Pljesak)

I mean really listen to that thunder within yourselves.

Vrlo dobro! Snijeg. Snijeg. Jeste li ikad čuli snijeg?

And please try to create that through your clapping.

Publika: ne.

Try, just -- please try.

(Loud clapping sounds)

Evelyn Glennie: "Pa onda, prestanite pljeskati." (Smijeh) Pokušajte ponovo.

(Clapping ends)

Pokušajte ponovo. Snijeg.

Snow.

(Laughter)

Snow.

(Soft clapping sounds)

Have you ever heard snow?

Audience: No.

Vidite, budni ste.

Evelyn Glennie: Well, then, stop clapping.

Kiša. Nije loše. Nije loše.

(Laughter)

Try again. Try again: snow.

Znate, zanimljivo je, međutim, pitala sam grupu djece

(No sound)

See, you're awake.

ne tako davno upravo isto to pitanje.

Rain.

E sad -- odlična mašta, puno vam hvala.

(Light clapping sounds)

EG: (Laughs)

Not bad. Not bad.

The interesting thing here, though, is that I asked a group of kids

Međutim, nitko od vas nije ustao sa stolice i razmislio,

not so long ago

"Hajde! Kako mogu pljeskati? U redu, možda ... (Plješće)

exactly the same question.

Now -- great imagination, thank you very much.

Možda bih mogao koristiti svoj nakit za stvaranje dodatnih zvukova.

However, not one of you got out of your seats to think,

Možda mogu koristiti druge djelove tijela za stvaranje dodatnih zvukova."

"Right! How can I clap?

Nitko nije pomislio pljeskati različito,

OK, maybe:

(Clapping sounds)

Maybe I can use my jewelry to create extra sounds.

drugačije od sjedenja na sjedištima i korištenja dlanova.

Maybe I can use the other parts of my body to create extra sounds."

Na isti način kad slušamo glazbu

Not a single one of you thought about clapping in a slightly different way

pretpostavljamo da sve to ulazi ovim putem.

other than sitting in your seats there and using two hands.

Tako mi doživljavamo glazbu. Naravno da nije tako.

In the same way, when we listen to music,

Doživljavamo grmljavinu -- grmljavinu, grmljavinu. Misli, misli, misli.

we assume that it's all being fed through here.

Slušaj, slušaj, slušaj. E sad -- što možemo učiniti s grmljavinom?

This is how we experience music.

Sjećam se svojeg učitelja. Kad sam prvi put počela, moj doslovno prvi sat,

Of course, it's not.

We experience thunder, thunder, thunder.

Bila sam potpuno pripremljena s palicama, spremna krenuti.

Think, think, think.

Listen, listen, listen.

I umjesto da je rekao: "U redu, Evelyn, molim, stopala blago razmaknuta,

Now, what can we do with thunder?

I remember my teacher, when I first started, my very first lesson,

ruke otprilike pod kutem od 90 stupnjeva, palice otprilike u obliku slova V,

I was all prepared with sticks, ready to go.

drži ovaj ovdje razmak, itd.

And instead of him saying, "OK, Evelyn, please, feet slightly apart,

Molim te drži uspravna leđa, itd., itd., itd." --

arms at a more or less 90-degree angle, sticks in a more or less V shape,

gdje bih tako vjerojatno ostala potpuno ukočena, smrznuta,

keep this amount of space here, etc.

i ne bih mogla udariti bubanj,

Please keep your back straight, etc., etc., etc." --

jer mislila bi na tako mnogo drugih stvari -- on je rekao:

where I was just probably going to end up absolutely rigid, frozen,

"Evelyn, ponesi ovaj bubanj na sedam dana i vidjet ćemo se slijedeći tjedan."

and I would not be able to strike the drum

O, nebesa! Što sam sad trebala raditi? Više mi nisu bile potrebne palice;

because I was thinking of so many other things,

nije mi ih bilo dozvoljeno imati.

he said, "Evelyn, take this drum away for seven days,

Morala sam u biti gledati baš ovaj određeni bubanj,

and I'll see you next week."

So -- heavens! What was I to do?

gledati kako je izrađen, čemu ove male drške služe, čemu služi snar.

I no longer required the sticks.

I wasn't allowed to have these sticks.

Prevrtala sam ga, isprobavala s okvirom, isprobavala s glavom.

I had to basically look at this particular drum,

Isprobavala sa svojim tijelom, isprobavala s nakitom,

see how it was made,

isprobavala s raznoraznim stvarima.

what these little lugs did, what the snares did.

Turned it upside down, experimented with the shell.

I naravno, vratila sam se sa svakakvim ogrebotinama i sličnim stvarima --

(Drum sounds)

Experimented with the head.

(Drum sounds)

Experimented with my body.

ali unatoč svemu, bilo je to nevjerojatno iskustvo.

(Drum sounds)

Experimented with jewelry.

Experimented with all sorts of things.

jer, gdje biste uopće to mogli doživjeti u jednom glazbenom djelu?

(Drum sounds)

(Drum sounds end)

And of course, I returned with all sorts of bruises.

Gdje biste uopće to mogli doživjeti u udžbeniku?

(Laughter)

I tako se nismo nikad, nikad bavili stvarnim udžbenicima.

But nevertheless, it was such an unbelievable experience,

because where on earth are you going to experience that in a piece of music?

I tako primjerice, jedna od stvari koje naučimo

Where on earth are you going to experience that in a study book?

kad se odnosimo prema bivanju perkusionistom, umjesto glazbenikom,

So we never, ever dealt with actual study books.

jest najosnovnija serija pojedinačnih udaraca.

So for example, one of the things that we learn

Ovako. A onda krenemo malo brže i još brže i još malo brže.

when we are dealing with being a percussion player

I tako dalje. Što ovo djelo zahtjeva?

as opposed to a musician,

is basically, straightforward single-stroke rolls.

Seriju pojedinačnih udaraca. I zašto to ne mogu činiti dok učim glazbeno djelo?

(Drum sounds)

Like that, and then we get a little faster --

I to je upravo ono što je i on učinio.

(Drum sounds)

and a little faster --

(Drum sounds)

and a little faster, and so on and so forth.

I što sam postajala starijom, kad sam postala studentica

What does this piece require?

Single-stroke rolls.

na tzv. "glazbenoj instituciji", sve je to palo u vodu.

(Drum sound)

So why can't I then do that whilst learning a piece of music?

And that's exactly what he did.

Morali smo učiti iz udžbenika.

And interestingly, the older I became, and when I became a full-time student

Sa stalnim pitanjem, "Pa, zašto? Zašto? Kakve ovo ima veze s bilo čim?

at a so-called "music institution," all of that went out of the window.

Moram odsvirati glazbeno djelo. "Pa, ovo će ti pomoći tvojoj kontroli!"

We had to study from study books.

"Kako? Zašto? Moram to povezati s glazbenim djelom.

And constantly, the question, "Well, why? Why? What is this relating to?

Razumijete. Trebam nešto poručiti.

I need to play a piece of music."

"Zbog čega vježbam paradidle?

"Well, this will help your control."

"Well, how? Why do I need to learn that?

Je li to doslovno za kontrolu, za kontrolu ruke-palice? Zašto to radim?

I need to relate it to a piece of music.

You know, I need to say something.

Potrebno mi je imati razlog,

Why am I practicing paradiddles?

a to je poruka nečega putem glazbe."

(Drum sounds)

Is it just literally for control, for hand-stick control?

A poručivanjem nečega putem glazbe, što je u osnovi zvuk,

Why am I doing that?

I need to have the reason,

tek tada možemo doprijeti raznim stvarima do raznih ljudi.

and the reason has to be by saying something through the music."

Ali ja ne želim preuzeti odgovornost za vaš emocionalni teret.

And by saying something through music, which basically is sound,

To je na vama, kad uđete u dvoranu.

we then can reach all sorts of things to all sorts of people.

Jer to tada određuje što i kako slušamo određene stvari.

But I don't want to take responsibility of your emotional baggage.

Mogu se osjećati tužnom, sretnom, ushićenom, ljutom dok sviram

That's up to you, when you walk through a hall,

određena djela, ali ne želim nužno

because that then determines what and how we listen to certain things.

da i vi osjećate isto što i ja.

I may feel sorrowful, or happy, or exhilarated, or angry

I tako molim vas, slijedeći put kad odete na koncert,

when I play certain pieces of music,

dozvolite tijelu da bude rezonantna komora.

but I'm not necessarily wanting you to feel exactly the same thing.

Budite svjesni da nećete doživjeti isto ono što i izvođač.

So please, the next time you go to a concert,

Izvođač je u najgorem mogućem položaju za doživljaj zvuka,

just allow your body to open up,

jer on čuje kontakt palice s bubnjem,

allow your body to be this resonating chamber.

Be aware that you're not going to experience the same thing

ili udar na komadić drva, ili istezanje žice, itd.,

as the performer is.

The performer is in the worst possible position for the actual sound,

ili udah koji stvara zvuk na puhačkim instrumentima.

because they're hearing the contact of the stick --

Oni doživljavaju tu sirovost tamo.

(Drum sound)

on the drum, or the mallet on the bit of wood,

Ali u isto vrijeme doživljavaju i nešto tako nevjerojatno čisto,

or the bow on the string, etc.,

or the breath that's creating the sound from wind and brass.

prije nego što se zvuk uopće i dogodi.

They're experiencing that rawness there.

Molim vas primijetite život zvuka poslije prvobitnog udara,

But yet they're experiencing something so unbelievably pure,

ili udaha, kad se izvlači. Samo doživite cijelo putovanje tog zvuka

which is before the sound is actually happening.

na isti način kao što sam ja željela doživjeti cijelo putovanje

Please take note of the life of the sound after the actual initial strike,

baš ove konferencije, umjesto dolaska sinoć.

Ali nadam se da ćemo podijeliti neke stvari kako dan bude odmicao.

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

Puno vam hvala što ste me primili!

of this particular conference, rather than just arriving last night.

(Pljesak)

But I hope maybe we can share one or two things as the day progresses.

But thank you very much for having me!

(Applause)

(Applause ends)

(Music)

(Music ends)

(Applause)