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.

我一點也不確定是否我自己愿意看到 小軍鼓，在晚上九點以后或是早晨 不論如何，非常榮幸看到座無虛席 也衷心的感謝 Herbie Hancock 以及他的同事為了這個偉大的表演所付出的的所有努力 很有趣的一件事 當然，是雙手和表演樂器技藝的完美結合 以及如他所說聆聽我們年輕人

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.

當然 我的工作全部是與聽有關的 事實上，我的目標，是讓世界學會聆聽 那是我生命的唯一目標 這聽起來很簡單，但是確實是一個很艱巨的工作，非常艱巨 因為你知道，舉個例子，當你看到一段音樂 現在讓我來打開我的小機車包，希望能找到 一份畫滿了黑色小圓點的樂譜 打開它，然后讀這段音樂 技術上來說，的確，我可以讀懂它 我會根據樂譜上的拍子和節奏 演奏它，一字不拉地按照我所讀到的 在這里，由于時間的關系 請允許我逐字的演奏前面的一兩行。它很容易理解 這一段也一點都不難 但是到這里，讓我看一下，這段音樂節奏很快 根據樂譜，我知道該敲哪里 該用鼓棒的哪一部分演奏 該用怎樣的強弱力度 我發現這個小軍鼓響弦是放下的 鎖上響弦，放下響弦 因此，如果我把從樂譜上所讀到的東西轉移到樂器上，會是這種感覺 諸如此類。 我的職業很有可能只能持續五年左右

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 作為音樂家，我所做的一切卻與音樂沒有半點關系 來不及向老師學習的事 甚至是無法與老師談及的事 但這是當你并不和你的樂器在一起時，你會發現的事 事實上變得很有趣，接著你想探索 通過這個很小小的鼓面 剛剛，我們感受了一個把樂譜翻譯到樂器上的過程。 現在我們來感受一下演奏的過程 現在我的職業生涯或許可以持續的長一點了。

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.

但是其實是一樣的，如果我觀察一下您，我會看到 一個戴著粉色帽子的靚麗女士 您正在抓著一個泰迪熊，等等等等 所以我會得到一個基本的個人印象，比如您可能是個怎樣的人，您的愛好是什么 您的職業，等等等等 但是，眾所周至，這樣的初次印象每個人都會得到 當大家在觀察的時候。然后我們試圖解釋 但是，事實上，這是很表面的 同樣地，當我看一段音樂的時候，我得到一個基本的概念 我在想，什么將會是技術上的難關，我到底要怎么處理 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，這完全不夠 我在想Herbie的話 請聽一聽 首先，我們必須聆聽我們自己 舉個例子，當我拿著鼓棒，事實上我沒有松開它 你能通過手臂感受到強烈的震動 你會確確實實地感受到，信不信由你， 與樂器本身以及鼓棒是分離的 然而事實上，我正緊緊的握著鼓棒 緊緊的握著它，奇怪的是我卻感受到更多的分離感 如果我松開一些，讓我的手和手臂作為更好的支撐 突然，我用相對少的力氣得到更多的動力，多得多 最后我感覺到，一個離鼓槌很近，一個離鼓很近 我做的越來越少

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，我需要時間與樂器一起 我需要時間和人們在一起才能去了解闡釋他們 不僅僅是從表面上翻譯它，而是演繹它。 例如，我來演奏一點音樂的片段 從我把自己看做是個會這門技術的人的角度來看 后者，人們稱之為打擊樂演奏者 等等......如果從我把自己看做一個音樂家的角度 等等......但即便是有些許的不同，那也值得 仔細想一想

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."

我記得在我12歲的時候 我開始演奏定音鼓和打擊樂，我的老師說 “我們怎么開始去做呢？ 你知道，音樂與聽是密切相關的” “當然，我同意您的觀點。所以問題在哪呢？” 他說：“那么，你怎樣來聽這個，怎樣來聽那個呢？” 我說：“那么，您是怎樣聽的呢？” 他說：“我想我是通過這兒來聽的。” 我說：“我想我也是，但是我還通過我的手來聽。” 以及我的手臂，顴骨，頭皮，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.

從那以后，每節課的一開始，我們都會調整鼓 尤其是定音鼓 使其處于很窄的音域里，就像這樣 有些許不同 。然后逐漸的變化，一點一點地 令人驚奇的是，當你的身體完全打開 張開雙手使震動穿過 事實上，極為微小的不同 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，我們常做的就是我會把雙手貼在 音樂教室的墻上，這樣就能聽到樂器所發出的聲音 仔細地感受那些聲音 效果遠遠好于只是依靠耳朵 這當然是因為，我是說，耳朵受制于很多因素 我們現在所在的房間，擴音效果，樂器的音效 鼓棒，等等等等 都是不一樣的 同樣的重量，但是不同的聲音色彩 就如同我們一樣，我們是普通的人類 但我們都有自己本身獨特的，不易察覺的聲音色彩 組成了人的獨特的個性 特點以及對事物的不同興趣

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.

當我年紀大些，我參加了倫敦皇家音樂學院的甄選 他們說：“恩，不，我們不能錄取你，因為我們沒有先例 你知道，培養一位將來的，所謂的‘失聰’音樂家。” 我無法接受這樣的解釋 因此，我對他們說：“看著吧，如果你們 是因為那些原因拒絕我 卻忽略了表演的能力，對音樂的理解 以及對創造音樂藝術的摯愛 我真想象不出，到底你們想要招收的學生是怎樣的 結果就是，我們跨過一個很小的障礙，獲得了再次甄選的機會 他們錄取了我。結果還不僅如此 在當時，它改變了 英國范圍內所有音樂學院的整個角色

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.

在任何情況下，他們都不能拒絕任何申請者 僅僅基于他有沒有胳膊或者腿等等 他們很可能仍然可以演奏管樂器，只要樂器支好 無論任何情況，都不應該習慣于去決絕任何申請 每一個都申請者都應該被聆聽，被感受， 基于音樂上的才能，然后再決定這個人是否被錄取 這就意味著，有相當一部分有趣的學生 能夠在這些多元化的音樂學院學習 我不得不說， 現在他們當中的很多人 遍布于世界各地的專業管弦樂團 但是，有意思的也是 （鼓掌） 其實很簡單，人們不僅僅于聲音連系在一起 基本上是我們所有的人，我們都深知音樂其實是我們的生活良藥

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.

我所說的音樂，其實就是指聲音 其實，我所經歷的一些非比尋常的事情 作為一個音樂家，你可能有一個15歲的男孩 他有很多不可思議的挑戰 他可能無法控制自己的行動 也有可能是失聰的，失明的等等等等 突然，如果這個年輕的小伙子坐在樂器旁邊 甚至躺在木琴底下 然后你彈奏一個非常像木琴的聲音 可能我拿的鼓棒不對 但和這個差不多。 換一下 一些特別簡單的 但，他可能感受到我所不能感受到的東西 因為我在聲音的上方 聲音從這個方向傳來 而對他來說，聲音是從共鳴器里傳來的 如果沒有共振器的話， 他可能會聽到一個飽滿的聲音，而坐在前排的你們 不一定能感受到這樣的聲音，當然，后排也不會 我們每一個人，取決于我們坐在哪里。 對于同一聲音都會有完全不同的感覺 當然，作為創造聲音的參與者 這始于我想創造怎樣的聲音 例如，這個聲音

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.

你們能聽到什么 沒錯，因為我還沒有碰到它呢 但是，我們感覺到有什么事情在發生 同樣地，當我看到樹在動時 我可以想象到，樹發出瑟瑟的聲音 明白我的意思嗎 無論眼睛看到什么，總有聲音隨之進行 因此，常常會有 確切地說，千變萬化的東西作為我的聲音源泉

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經歷 學會一段音樂，不是加入別人的理解 或是研究一些與那段音樂有關的光盤，等等等等 因為那樣不會讓我接觸到最原始的東西 那種讓我可以完全感受過程的東西 所以很有可能，在某些演奏廳里，這樣的強弱力度會很不錯 可能在其他地方，人們肯能一點也不會有那樣的感受了 因此，我發出的輕聲， 柔和的聲音可能是這樣的 明白我的意思了嗎? 因此，就因為獲取聲音的這個特別因素 特別是對于聾人群體來說 這不僅僅影響了聾人音樂學院 處理聲音的方式。 同時也不僅僅是治療的一種方式而已 當然，作為一個音樂的參與者 我完全同意這樣的觀點 但這意味著，聲學工作者需要去仔細考慮一下演奏廳的類型 他們所選擇的。 在這個世界上，很少有演奏廳 有很棒的音響效果 我敢說。 但即便如此，你仍然可以展開想象的翅膀，去做任何事 最微小，最輕柔的聲音對某些東西來說或許它很廣闊 很巨大，無法想象。 總有一些東西 在這兒或許聽著很不錯，在那兒了又或許不那么好 在那兒或許很棒，但在上邊卻糟糕透頂 在那兒簡直是個噩夢，但在這兒聽著還不錯呢 ，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.

所以找到一個真正意義上合適的演奏大廳是不可能的 像你想象到的那樣的效果 并非表面上的修飾和放大 因此，事實上，聲音工作者是在和一些 聽力受損的人們探討這個問題，事實上他們也是聲音的參與者 這一點其實很有趣 我還不能透露目前的進展如何 關于演奏廳的效果，但意義重大的是，他們正向這樣一群人尋求幫助 多年來我們常常議論的這樣一群人 “瞧，到底他們怎樣感知音樂呢？要知道，他們可是失聰的。” 我們一直這樣，我們想象著聾人應該是怎樣的 或者我們也這樣，我們想象著失明的人應該是怎樣的 當我們看到有人坐在輪椅上，我們就認為他們不會走路 或許，事實上他們可以走上好幾步。 而這，對他們來說，意味著 或許一年以后，他們可以一次多走兩步 再過一年，他們可以多走三步

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.

這其實是很值得好好思考的地方 因此，當我們真正彼此傾聽的時候 我們應該先測測自己傾聽的本領 真正地把我們的身體作為共鳴腔。 停止表面的判斷 對我來說，作為一個99%都在與新音樂打交道的音樂家 要說出“噢，對，我喜歡這首。 噢，不，我不喜歡那首。”等等這樣的話是很容易的事 但我發現我應該給與那些音樂更多時間的關注 有可能，僅僅是我和那首歌之間并沒有很好的化學反應 但這并不代表著我有權利評價，這不是首好曲子 其實，這是作為音樂家感覺最棒的一點 是種讓人難以想象的液體 因此，沒有規則，沒有對錯，沒有這樣那樣的方式

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)

如果我讓大家發出拍擊聲，或許我可以這么做 如果我說：“請大家發出拍擊聲。” 發出打雷般的聲音 假設大家都知道打雷是怎樣的聲音 現在，我說的不是聲音本身 我所說的意味著真正地全身心地去聽雷聲 然后通過拍擊發出打雷般的聲音，請大家試一試 （鼓掌）

Very good! Snow. Snow. Have you ever heard snow?

很好！那么下雪的聲音呢，大家聽過嗎？

Audience: No.

觀眾：沒有

Evelyn Glennie: Well then, stop clapping. (Laughter) Try again. Try again. Snow.

Evelyn Glennie：那么，停下來吧。（笑聲）再試一試 試一試 ，下雪的聲音

See, you're awake.

看吧，大家睡醒了

Rain. Not bad. Not bad.

下雨的聲音呢？ 還不錯，還不錯

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.

大家知道嗎，其實很有意思的是，我曾經也讓一群孩子 不久以前做過完全一樣的事情 現在，非常好的想象力，謝謝大家 然而，你們中沒有一個人離開座位去想一想 “好，該怎樣發出拍擊聲呢？好的，或許...... 或許我可以用隨身的配飾去創造些不一樣的聲音 又或許我可以用身體的其他部位發出一些其他聲音 沒有一個人嘗試用些許不一樣的方式發出拍擊聲 除了坐在座位上，拍動自己的雙手 當我們聽音樂其實也是同樣的道理 我們以為我們只能通過這里感受它 這就是我們如何感受音樂。 當然事實并非如此

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."

我們感受雷聲——雷聲，雷聲，想一想 聽一聽 現在，我們怎樣處理雷聲呢？ 我記得我的一位老師，當我開始學習音樂的時候，我最早的課程 我準備好了鼓棒，信心滿滿 然而，他卻說：“好的，Evelyn ，雙腳略微分開， 雙臂大約成90度，保持鼓棒成大約v字形 保持這樣的空間，等等 把背挺直，等等等等” 當時，最后我變得很僵硬，像被凍住了一樣 我也很可能不能學會敲鼓 因為我一直在想著其他的事情，他對我說： “Evelyn，把這個鼓帶回去七天，我下周再來看你。”

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！我該怎么做呢？我不能再要拿鼓棒了 老師不允許我用這些鼓棒了 我只能看著這個鼓 研究一下它是怎么做成的，小把手是做什么用的，響弦有是干什么的 把它翻過來，試試它的外殼，它的鼓面 用我的身體嘗試敲打他，用我的配飾 用一切可以用的東西嘗試 當然，結果是歸還的時候，我傷痕累累 不過，這是一次非常特別的經歷 因為那段經歷，在一段音樂中，究竟在哪里你能有那樣的感受呢 在一本教科書中，究竟在哪里你能有那樣的感受呢？ 因此，我們從來沒有真正地在研究教科書上的東西 舉個例子，我們曾經學過一種演奏方法 作為一個打擊樂演奏家，而并非音樂家，當我們處理音樂的時候 就是最基本的單擊滾奏（專業術語）

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.

像這樣 然后快一些，再快一些，再快一些 諸如此類 這段該怎樣呢？ 單擊滾奏。 那么為什么我不可以在學一段音樂的首用這種手法呢？ 那正是他所做的 有意思的是，隨著年齡的增長，當我成為了專業學生以后 在所謂的“音樂學院”，那些疑惑都消失了 我們開始學習書本 “為什么？為什么？學這些有什么用呢？”這些問題常常出現在我的腦海里 我需要去演奏音樂。“噢，學習這些會幫住你學會控制！” 那么，怎么用它學會控制？為什么我需要學這些？我需要把它和音樂聯系起來 你知道，我需要說些什么

"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.

為什么我要練習復合式打點 真的是為了很好地控制嗎？為了控制鼓棒？為什么我要這么做？ 我需要知道答案 而答案需要通過音樂告知 通過音樂，實際上就是通過聲音 這樣以來，我們可以把所有的東西傳遞給所有的人 但我不想為大家的情緒包袱負責 這由你決定，當你走進一座演奏大廳 因為這樣，決定了我們怎樣去聽一些東西 我可能覺得很悲傷，或者很高興，或者很雀躍，或者很生氣，當我演奏 某段音樂的時候，但我不應該 讓大家感受到我的這種情緒 因此，下次當大家去演奏會的時候 讓自己的身體打開，讓它成為你的共鳴腔 確定你不會受到演奏者情緒的影響

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)

演奏者可能正位于聲音最不好的位置 他們聽到的是鼓棒碰觸鼓面的聲音 或是木槌碰觸木塊的聲音，又或是弓碰觸弦的聲音，等等 或是為了發出聲音而吹動管樂器的呼吸聲 他們感受的就是那些最原始的聲音 然而，他們感受到的恰巧就是那種最純粹的聲音 其實是聲音發出前的一瞬間的感覺 請記住聲音從一開始敲打到產生的整個過程 或是，從呼吸開始 試著感受聲音產生的整個旅程 就如同我自己度過了整個旅程一般 今天的這次會面，盡管昨天晚上才到達這里 我希望我們可以有機會在以后的時間里交流心得 非常感謝大家的聆聽與關注 (鼓掌)

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