How to truly listen | Evelyn Glennie

エヴェリン・グレニーが「聴き方」について語る

翻訳: Ai Kamimoto 校正: Yasushi Aoki

朝の9時からスネアドラムに

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

at nine o'clock or so in the morning.

お目にかかりたいかは 悩むところですが…

(Laughter)

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

会場が満員なのは光栄です

and really, I must thank Herbie Hancock and his colleagues

ハービー ハンコックと

メンバーの演奏も見事でしたね

for such a great presentation.

(Applause)

興味深かったのは

One of the interesting things, of course,

楽器を弾く手とテクノロジーとの競演と

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

"若い人たちに耳を傾けよう" という彼の話でした

and what he said about listening to our young people.

Of course, my job is all about listening.

私の仕事も 聴くことが全てで

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

世界の人々に聴くことを教えるのが目的です

That's my only real aim in life.

人生の唯一の目的と言えます

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

簡単に聞こえますが 実際はかなりの大仕事

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

なぜなら楽譜を見ると 例えば

if I just open my little motorbike bag --

このバッグの中にある

we have here, hopefully,

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

楽譜は小さな黒い点だらけです

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

広げて… 楽譜を読みます

And I read the music.

So technically, I can actually read this.

楽譜は もちろん読めます

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

速度や強弱など 指示に従い

I will do exactly as I'm told.

書かれたとおりに演奏します

And so therefore, because time is short,

それで… 時間が限られているので

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

仮に弾いたら…冒頭だけでも複雑な曲ではないと分かります

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

難しくはないけど

とても速い曲のようです

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

叩く場所も 指示されてます

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

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

スティックのどこを使うかも 書かれています

And I'm being told the dynamic.

強弱も…

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

スネアをオフにしておくことも…

Snares on, snares off.

これがオンで… これがオフ

So therefore, if I translate this piece of music,

譜面通りに弾けば どんな曲か分かります

we have this idea.

(Drum sounds)

(Drum sounds end)

And so on.

こんな感じ…　5年もせずに職をなくすでしょう

My career would probably last about five years.

(Laughter)

However, what I have to do as a musician

しかし譜面にないことをするのが 音楽家の仕事です

is do everything that is not on the music;

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

先生とのレッスンや

or to talk about, even, from a teacher.

話し合いでは得られないことを…

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

楽器から離れている時に 気付いたことを

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

この小さなドラムの表面を使って

through this tiny, tiny surface of a drum.

試していくんです

So there, we experience the translation.

譜面通りに弾いたので 今度は解釈をしてみます

Now we'll experience the interpretation.

(Drum sounds)

(Drum sounds end)

(Applause)

これなら仕事として 少し長く続きそうです

Now my career may last a little longer.

(Laughter)

ある意味 人をみる時と同じことなんです

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.

ピンクの服を着た素敵な女性が

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

テディベアを抱えている…とか

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

どんな人かという基本的なことを知るんです

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

何をする人だろう…とか

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

これは第一印象を基にしたことでしかありません

when we actually look and we try to interpret.

それを解釈するんですが

But actually it's so unbelievably shallow.

深い洞察ではない

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

音楽も 楽譜から基本を理解し

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

技術的に難しい点や 弾き方を考えます

Just the basic feeling.

基本的なことですが

However, that is simply not enough.

それでは不十分

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

ハービーの言っていた "聴くこと" です

We have to listen to ourselves, first of all.

まず自分自身に耳を傾けること

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

もしスティックを握ったら… 力強く握りしめたら

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.

腕から かなりの衝撃が感じられます

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

しかし 意外にも

detached from the instrument and from the stick,

楽器やスティックとの一体感がない

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

ギュッと握っているにも関わらずです

(Drum sound)

By holding it tightly, I feel strangely more detached.

強く握るほど 距離が感じられるんです

If I just simply let go

力を抜いと 手や腕を支えとして使うと

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

suddenly --

苦労せず もっと大きな音が出せるし

(Drum sound)

I have more dynamic with less effort.

Much more --

(Drum sound)

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

スティックやドラムと一体に感じられます

and one with the drum.

And I'm doing far, far less.

ずっと小さな力で

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

楽器を知るのに時間が必要なように

I need time with people in order to interpret them.

人を知るためにも時間が必要です

Not just translate them, but interpret them.

表面上の理解を深めるために

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

曲を数小節 弾いてみましょう

for which I think of myself as a technician --

技術者として…

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

つまりパーカッション プレイヤーとして…

(Marimba sounds)

(Marimba sounds end)

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

音楽家として弾くと…

(Marimba sounds)

(Marimba sounds end)

And so on.

両者には 考えるに値する (会場: 拍手)

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

(Applause)

thinking about.

若干の違いがあります

And I remember when I was 12 years old,

私は12歳の時

and I started playing timpani and percussion,

打楽器を始めましたが 先生に言われました

and my teacher said,

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

"どうしたものかな… 音楽は聴くことだからね"

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

私は "そうですけど?" と聞き返しました

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

"どうやってこれを聞くんだい? これは?"

How are you going to hear that?"

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

私は "先生は?" と尋ねました

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

"耳を通して聞くよ" と言うので

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

"私もそうですけど…それ以外に手や"

through my arms, cheekbones, my scalp,

"腕 頬骨 頭 おなか 胸 脚でも聞きます" と答えました

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

And so we began our lessons every single time

…毎回レッスンはドラムのチューニングからでした

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

特にティンパニのチューニングから

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

このぐらいの狭い音程からです

(Marimba sounds)

それから少しずつ 少しずつ…

that of a difference.

Then gradually:

(Marimba sounds)

And gradually:

(Marimba sounds)

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

身体を開き 手を開いて

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

振動が伝わってくるようにすると

that in fact the tiny, tiny difference --

ごくわずかな違いを

(Marimba sounds)

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

指の小さな部分で 感じ取ることができます

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

そこでレッスン室の壁に手を置いて

on the wall of the music room,

先生と一緒に 楽器の音を聴きました

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

and really try to connect with those sounds

単に耳で聴くよりも

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

音とより広く一体になろうとしたのです

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

耳は いろんなものに影響されますから

The room we happen to be in, the amplification,

その時の部屋や音の増幅 楽器の質

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

スティックの種類などに…

(Marimba sounds)

(Marimba sounds end)

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

すべて違うんです

(Marimba sounds)

(Marimba sounds end)

Same amount of weight, but different sound colors.

重さは同じですが 音の"色"が違います

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

人間と同じです　私たちも

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

それぞれが自分の色を持っています

that make up these extraordinary personalities and characters

それが その人独自の個性や

性格や魅力を作り出します

and interests and things.

And as I grew older, I then auditioned

その後私は ロンドンの王立音楽院を受験しました

for the Royal Academy of Music in London,

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

学校側は "将来性が不透明だ" と拒みました

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

いわゆる"聴覚障害ミュージシャン"の将来性が

And I just couldn't quite accept that.

これは…納得しかねましたね

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

そこで言いました "もし…"

if you refuse me through those reasons,

"断る理由がそれだけで"

as opposed to the ability to perform

"演奏技術や音を紡ぎ出すことへの"

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

"情熱を評価しないなら"

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

"そもそもの合格の意味を考える必要がありますね"

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

その結果… ハードルを越え 試験を2回受け

and having to audition twice,

they accepted me.

合格しました　しかも

And not only that,

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

これをうけて 全英の音楽院での

その後の方針が変わりました

throughout the United Kingdom.

Under no circumstances were they to refuse

どんな事情があっても 願書を受理するようになったんです

any application whatsoever

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

腕や脚がなくてもです

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

支えがあれば 楽器が吹けるかもしれない

どんな場合も 入学拒否の理由にならなくなった

No circumstances at all were used to refuse any entry.

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

受験者の演奏を聴き 実際に見て

and then, based on the musical ability,

実力に基づいて 合否を決めるようになったんです

then that person could either enter or not.

And so therefore, this in turn meant

その結果 とても興味深い学生たちが

that there was an extremely interesting bunch of students

音楽院に入るようになりました

who arrived in these various music institutions,

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

彼らの多くは今

プロとして世界中のオーケストラで活躍しています

throughout the world.

The interesting thing about this as well, though --

ここでも興味深いのは

(Applause)

(拍手)

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

人は誰でも 音と通じ合えるというだけでなく

which is basically all of us --

音楽は 私たちを日々癒してくれる薬なのです

we well know that music really is our daily medicine.

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

音楽が というより音が ですね

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

音楽家として貴重な経験をしてきました

15歳ぐらいの生徒たちがいました

when you may have a 15-year-old lad

who has got the most incredible challenges,

とてつもない障害を抱えていて

who may not be able to control his movements,

身体を動かすのも ままならず

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

目や耳が不自由だったり…

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

彼が 楽器のそばに座ったり

and perhaps even lies underneath the marimba,

マリンバの下に横たわる

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

そこで パイプオルガンのように弾きます

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

ピッタリのスティックがないんですが…

but something like this -- let me change --

こんな感じです

(Soft marimba sounds)

(Soft marimba sounds end)

Something that's so unbelievably simple --

シンプルですが

彼は私とは全く異なる体験をするでしょう

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

because I'm on top of the sound.

私は音の真上なので

I have the sound coming this way.

音は 上がってきます

He would have the sound coming through the resonators.

彼は共鳴管から音を感じるでしょう

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

共鳴管がなければ 音はこんなです

(Marimba sounds)

So he would have a fullness of sound

下なら音に包まれます 会場の最前列や

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

後ろの何列かでも感じられません

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

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

座っている場所に応じ

will experience this sound quite, quite differently.

まったく違う音を経験するんです

And of course, being the participator of the sound,

もちろん 音を出す人間としては

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

まず どんな音を出したいか考えます

I want to produce, for example, this sound:

例えば この音…

(No sound)

Can you hear anything?

聞こえます?

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

その通り　触っていませんから

(Laughter)

それでも何かが起こるのを感じ取ります

But yet, we get the sensation of something happening.

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

木の揺れるのを見て

then I imagine that tree making a rustling sound.

葉擦れの音を想像するのと一緒です

Do you see what I mean?

分かります?

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

何かを見る時 そこには音がある

So there's always, always that huge --

いつもいつも 大きな

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

万華鏡の中にいるかのような…

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

私の演奏は 自分の経験が基になってます

and not by learning a piece of music,

楽譜から学ぶのでも 誰かの解釈に従うのでも

putting on someone else's interpretation of it,

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

弾く曲のCDを買い集めるのでもありません

and so on and so forth,

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

それらは素のままの根源的なものを与えず

and something that I can fully experience the journey of.

作り上げる過程を 堪能するには不十分なのです

So it may be that, in certain halls,

ホールによっては この強さでも十分でしょう

this dynamic may well work.

(Soft marimba sounds)

(Soft marimba sounds end)

It may be that in other halls,

別のホールでは全然聞こえないかも…

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

だから 条件に合わせて弾き方も

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

変えるんです

(Marimba sounds)

(Marimba sounds end)

Do you see what I mean?

So, because of this explosion in access to sound,

分かります? 現代では 音は体全体で感じるものになりました

especially through the Deaf community,

特に聴覚障害者の間では…

this has not only affected how music institutions,

この音の扱いの変化は 音楽院や

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

養護学校に影響を与えました 治療の手段以外でも…

although, of course, being a participator of music,

音楽の関係者からすると

that definitely is the case as well --

もちろん治療目的もありますが…

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

この変化で 音響技師はホールの音響設計を考える必要が出てきました

about the types of halls they put together.

本当に良い音響の会場は

There are so few halls in this world

that actually have very good acoustics, dare I say.

世界でも少ないんですよ

本当に良い会場なら何でもできます

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

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

とても小さい柔らかい音から 厚みのある

so huge, so incredible.

大きい音まで…素晴らしいです　普通は

There's always something:

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

ここは良くても あっちはイマイチ…

it may be great there, but terrible up there;

あっちは良くても こっちは最悪…

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

こっちはヒドくても あっちは…という具合

So to find an actual hall is incredible --

思い通りに弾ける会場に

for which you can play exactly what you imagine,

出合えたら最高です

without it being cosmetically enhanced.

何も細工のない会場に…

So therefore, acousticians are actually in conversation

聴覚障害者たちや音楽家の意見を

with people who are hearing impaired,

音響技師は取り入れています

and who are participators of sound.

And this is quite interesting.

興味深いですよ

I cannot give you any detail

ここでは詳細に触れませんが

as far as what is actually happening with those halls,

音響技師たちは意見を聞くんです

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

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

長年 こう言われてきた人々に

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

"音楽がどう分かるの? 聞こえずに?"

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

聴覚障害に対する固定観念があります

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

視覚障害に対しても

車椅子に乗っている人は 歩けないと思いがちです

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

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

でも 数歩でも歩ければ 彼らにとっては歩けるということ

That, to them, means they can walk.

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

一年後にはもう2歩

In another year's time, three extra steps.

その次の年には もう3歩

Those are hugely important aspects to think about.

これはとても大事な考え方です

So when we do listen to each other,

だから 聴く時は

it's unbelievably important for us

どれだけ聴く力があるか試されます

to really test our listening skills,

to really use our bodies as a resonating chamber,

身体全体に反響させて 即断はしない

to stop the judgment.

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

私は扱う曲の99%が新曲なので

it's very easy for me to say,

簡単に言い切れます　"この曲は好き"

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

"これは好きじゃない" と…

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

でも こうした曲にも時間をかけるべきだと気付きました

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

曲との相性が良くなかったのかも知れない

and that particular piece of music,

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

だからといって悪い作品だと言う権利はない

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

それに 音楽家であることの利点は

is that it is so unbelievably fluid.

とても自由なことです

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

これが正しいという決まりもない

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

ちょっと… 手を叩いてもらえますか?

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

手を叩いて雷の音を作って下さい

I'm assuming we've all experienced thunder.

雷は分かりますよね?

Now, I don't mean just the sound;

音だけじゃありませんよ

I mean really listen to that thunder within yourselves.

自分の内で雷を聴いて下さい

And please try to create that through your clapping.

それを拍手で表すんです　さあどうぞ

Try, just -- please try.

(Loud clapping sounds)

(拍手)

(Clapping ends)

いいですね! 今度は雪です…　雪を聞いた事は?

Snow.

(Laughter)

Snow.

(Soft clapping sounds)

Have you ever heard snow?

Audience: No.

(会場　"ないです")

Evelyn Glennie: Well, then, stop clapping.

じゃあ叩かないで　(会場 笑) もう一度…

(Laughter)

Try again. Try again: snow.

もう一度　雪です

(No sound)

See, you're awake.

ね? 意識したでしょう?

Rain.

では雨を…　悪くないですね

(Light clapping sounds)

EG: (Laughs)

Not bad. Not bad.

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

興味深いのは… 子供たちに

not so long ago

最近同じ質問をしたんです

exactly the same question.

Now -- great imagination, thank you very much.

皆さんも見事でした　有難うございます

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

でも誰も席を立って

"Right! How can I clap?

"じゃあ どう叩こう? "と

OK, maybe:

(Clapping sounds)

Maybe I can use my jewelry to create extra sounds.

アクセサリーを使ったり

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

体の他の部分を使わなかった

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

誰も違う叩き方をしなかったですね

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

座って両手を使う以外には?

In the same way, when we listen to music,

音楽を聴く時も

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

全て耳を通すと思いがちです

This is how we experience music.

これが音楽の感じ方だと…　違うんです

Of course, it's not.

We experience thunder, thunder, thunder.

雷を感じる時は…　考えるんです

Think, think, think.

Listen, listen, listen.

聴いて聴いて聴くんです　さあどうします?

Now, what can we do with thunder?

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

私の最初のレッスンはこうでした

I was all prepared with sticks, ready to go.

スティックを用意し準備万端でした

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

こうは言われませんでした　"両足を開いて"

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

"腕は約90度 スティックはV字で"

keep this amount of space here, etc.

"脇を充分開いて"

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

"背筋も伸ばす" とは…

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

きっと様々なことを考えてしまい

and I would not be able to strike the drum

身体が硬直し

because I was thinking of so many other things,

上手く叩けなかったでしょう

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

代わりにドラムを一週間持ち帰るよう言われました

and I'll see you next week."

So -- heavens! What was I to do?

"どうしよう? スティックもなしで? "

I no longer required the sticks.

I wasn't allowed to have these sticks.

スティックは禁止です

I had to basically look at this particular drum,

そこで このドラムをじっくり眺め

see how it was made,

つまみやスネアなど 構造を調べました

what these little lugs did, what the snares did.

Turned it upside down, experimented with the shell.

裏返したり ドラムの上や周りを叩いたり

(Drum sounds)

Experimented with the head.

(Drum sounds)

Experimented with my body.

身体もアクセサリーも使いました

(Drum sounds)

Experimented with jewelry.

Experimented with all sorts of things.

使えるもの全て

(Drum sounds)

(Drum sounds end)

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

アザだらけになりましたが

(Laughter)

信じ難いほど素晴らしい経験をしました

But nevertheless, it was such an unbelievable experience,

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

どうやったら こんな経験が楽譜から得られます?

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

どうやったら教本から得られます?

So we never, ever dealt with actual study books.

結局 教本は使いませんでした

So for example, one of the things that we learn

レッスンでは たとえば

when we are dealing with being a percussion player

音楽家ではなくプレイヤーになるための基礎として

as opposed to a musician,

is basically, straightforward single-stroke rolls.

シングルストロークを学ぶものです

(Drum sounds)

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

こんな… 少しずつ早くしていきます

(Drum sounds)

and a little faster --

(Drum sounds)

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

この曲を弾くには?

What does this piece require?

Single-stroke rolls.

…シングルストローク　当時私にこの技術がなかったのは

(Drum sound)

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

And that's exactly what he did.

まさに先生の意図でした

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

成長して正規の学生になって

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

いわゆる音大生になると レッスンも変わりました

We had to study from study books.

教本に沿うようになった

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

いつも疑問でした "何と関係あるの?"

I need to play a piece of music."

"曲を弾きたい" と言うと "そのために必要だ"と

"Well, this will help your control."

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

曲と通い合うのに なぜそれが必要なのか?

I need to relate it to a piece of music.

You know, I need to say something.

私は表現したかったのに

Why am I practicing paradiddles?

なぜパラディドルの練習?

(Drum sounds)

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

スティックを操る目的なんて?

Why am I doing that?

I need to have the reason,

私には意味づけが必要でした

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

それが音楽で語ることに どう関わるのか?

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

音楽を通して語ることによって

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

あらゆる人に あらゆることを伝えられるんです

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

皆さんの内面には立ち入りません

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

個人の問題ですから

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

それが個人個人の聴き方を決めるんです

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

演奏する時の私の感情も 様々なものですが

when I play certain pieces of music,

必ずしも皆さんに

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

同じように感じることは望みません

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

次回コンサートに行く時は

just allow your body to open up,

身体を開き 中で響かせてみて下さい

allow your body to be this resonating chamber.

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

奏者と同じ体験ではありませんよ

as the performer is.

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

奏者は音を聴くのに最悪の場所にいます

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

スティックがドラムに当たる音や

(Drum sound)

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

鍵盤に当たるマレットや 弦をこする弓や

or the bow on the string, etc.,

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

吹く時の呼吸が聞こえるんです

They're experiencing that rawness there.

"素"のものなんです

But yet they're experiencing something so unbelievably pure,

とても純粋なものでもありますが

which is before the sound is actually happening.

実際の音になる前の段階なんです

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

音の誕生から消滅までの過程を意識して

その全過程を感じてみて下さい

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

私もそのようにTEDの全てに触れたかった

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

でも着いたのが昨日の夜だったので…

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

まだ何か共有できると良いですが…

But thank you very much for having me!

それでも参加できて光栄でした

(Applause)

(拍手)

(Applause ends)

(Music)

(Music ends)

(Applause)