How to listen
By Evelyn Glennie
nI'm not quite sure whether I really want to e a snare drum at nine o'clock or so in the morning. But anyway, it's just great to e such a full theater, and really I must thank Herbie Hancock and his colleagues for such a great prentation. (Applau) One of the interesting things, of cour, is the combination of that raw hand on the instrument and technology, and of cour what he said about listening to our young people.
Of cour, 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. Becau 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, becau time is short, if I just play you literally the first
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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 u. 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. dboy
jessica bielHowever, 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) (Applau) Now my career may last a little longer!
prentation是什么意思
But in a way, you know, it's the same if I look at you and I e a nice bright young lady with a pink top on. I e 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. heartbreaker
However, that is simply not enough. And I think what Herbie said -- plea listen, listen. We have to listen to ourlves, 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.
急遽的意思
duelpolaroidSo 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 mylf as a technician -- that is, someone who is basically a percussion player ... (Music) And so on. If I think of mylf as a musician ... (Music) And so on. There is a little bit of a difference there that is worth just -- (Applau) -- thinking about.
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."
And so we began our lessons every single time tuning drums -- in particular, the kettle dr
ums, 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. 2014年高考英语改革
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 tho sounds far, far more broadly than simply depending on the ear. Becau of cour, 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 the extraordinary personalities and characters and interests and things.
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, becau we haven't a clue, you know, of the fut
ure 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 refu -- if you refu me through tho reasons, as oppod 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.
