0:00:01.063,0:00:04.700
I'm not quite sure whether[br]I really want to see a snare drum

0:00:04.724,0:00:06.796
at nine o'clock or so in the morning.

0:00:06.820,0:00:08.218
(Laughter)

0:00:08.242,0:00:12.312
But anyway, it's just great[br]to see such a full theater,

0:00:12.336,0:00:15.621
and really, I must thank[br]Herbie Hancock and his colleagues

0:00:15.645,0:00:18.149
for such a great presentation.

0:00:18.173,0:00:21.244
(Applause)

0:00:21.268,0:00:23.454
One of the interesting things, of course,

0:00:23.478,0:00:30.431
is the combination of that raw hand[br]on the instrument and technology,

0:00:30.911,0:00:35.551
and what he said about listening[br]to our young people.

0:00:35.575,0:00:39.273
Of course, my job is all about listening.

0:00:40.094,0:00:46.039
And my aim, really,[br]is to teach the world to listen.

0:00:46.063,0:00:49.648
That's my only real aim in life.

0:00:50.394,0:00:56.531
And it sounds quite simple,[br]but actually, it's quite a big, big job.

0:00:56.555,0:01:01.825
Because you know, when you look[br]at a piece of music, for example,

0:01:01.849,0:01:05.308
if I just open my little motorbike bag --

0:01:06.647,0:01:09.655
we have here, hopefully,

0:01:09.679,0:01:15.304
a piece of music that is full[br]of little black dots on the page.

0:01:16.494,0:01:20.260
And, you know, we open it up ...

0:01:22.732,0:01:24.006
And I read the music.

0:01:24.554,0:01:28.268
So technically, I can actually read this.

0:01:29.000,0:01:32.976
I will follow the instructions,[br]the tempo markings, the dynamics.

0:01:33.586,0:01:36.771
I will do exactly as I'm told.

0:01:37.717,0:01:41.109
And so therefore, because time is short,

0:01:41.133,0:01:48.032
if I just played you, literally,[br]the first, maybe, two lines or so --

0:01:48.738,0:01:52.234
It's very straightforward; there's nothing[br]too difficult about the piece.

0:01:52.258,0:01:55.566
But here, I'm being told[br]that the piece of music is very quick.

0:01:56.550,0:01:59.556
I'm being told where to play on the drum.

0:01:59.580,0:02:02.496
I'm being told which part[br]of the stick to use.

0:02:03.847,0:02:06.445
And I'm being told the dynamic.

0:02:06.469,0:02:11.070
And I'm also being told[br]that the drum is without snares.

0:02:11.094,0:02:14.106
Snares on, snares off.

0:02:14.130,0:02:19.982
So therefore, if I translate[br]this piece of music,

0:02:20.006,0:02:22.006
we have this idea.

0:02:23.074,0:02:25.278
(Drum sounds)

0:02:50.823,0:02:53.242
(Drum sounds end)

0:02:53.266,0:02:54.533
And so on.

0:02:54.557,0:02:58.039
My career would probably last[br]about five years.

0:02:58.063,0:02:59.067
(Laughter)

0:02:59.091,0:03:03.614
However, what I have to do as a musician

0:03:03.638,0:03:07.746
is do everything that is not on the music;

0:03:07.770,0:03:12.774
everything that there isn't time[br]to learn from a teacher,

0:03:12.798,0:03:16.358
or to talk about, even, from a teacher.

0:03:16.382,0:03:21.235
But it's the things you notice when[br]you're not actually with your instrument

0:03:21.259,0:03:26.506
that, in fact, become so interesting,[br]and that you want to explore

0:03:26.530,0:03:29.998
through this tiny, tiny surface of a drum.

0:03:30.022,0:03:32.723
So there, we experience the translation.

0:03:32.747,0:03:36.217
Now we'll experience the interpretation.

0:03:37.082,0:03:38.852
(Drum sounds)

0:04:18.976,0:04:20.976
(Drum sounds end)

0:04:22.513,0:04:29.513
(Applause)

0:04:30.058,0:04:32.769
Now my career may last a little longer.

0:04:32.793,0:04:34.120
(Laughter)

0:04:34.144,0:04:37.429
But in a way, you know,[br]it's the same if I look at you

0:04:37.453,0:04:41.793
and I see a nice, bright young lady[br]with a pink top on.

0:04:41.817,0:04:45.235
I see that you're clutching[br]a teddy bear, etc., etc.

0:04:45.259,0:04:49.817
So I get a basic idea[br]as to what you might be about,

0:04:49.841,0:04:54.209
what you might like, what you might do[br]as a profession, etc., etc.

0:04:54.642,0:05:01.003
However, that's just the initial idea[br]I may have that we all get

0:05:01.027,0:05:04.609
when we actually look[br]and we try to interpret.

0:05:04.633,0:05:06.933
But actually it's so unbelievably shallow.

0:05:06.957,0:05:09.862
In the same way, I look[br]at the music; I get a basic idea;

0:05:09.886,0:05:14.180
I wonder what technically might be hard,[br]or, you know, what I want to do.

0:05:14.204,0:05:15.694
Just the basic feeling.

0:05:15.718,0:05:18.381
However, that is simply not enough.

0:05:18.405,0:05:22.719
And I think what Herbie said:[br]please listen, listen.

0:05:22.743,0:05:26.379
We have to listen[br]to ourselves, first of all.

0:05:26.403,0:05:30.148
If I play, for example,[br]holding the stick --

0:05:30.172,0:05:33.225
where literally I do not let go[br]of the stick --

0:05:33.249,0:05:35.814
(Drum sound)

0:05:35.838,0:05:39.655
you'll experience quite a lot[br]of shock coming up through the arm.

0:05:39.679,0:05:42.004
And you feel really quite --[br]believe it or not --

0:05:42.028,0:05:45.271
detached from the instrument[br]and from the stick,

0:05:45.295,0:05:49.417
even though I'm actually holding[br]the stick quite tightly.

0:05:49.441,0:05:50.866
(Drum sound)

0:05:50.890,0:05:54.847
By holding it tightly,[br]I feel strangely more detached.

0:05:54.871,0:05:56.588
If I just simply let go

0:05:56.612,0:06:01.807
and allow my hand, my arm,[br]to be more of a support system,

0:06:01.831,0:06:03.029
suddenly --

0:06:03.053,0:06:05.067
(Drum sound)

0:06:05.091,0:06:08.548
I have more dynamic with less effort.

0:06:08.572,0:06:09.747
Much more --

0:06:09.771,0:06:11.522
(Drum sound)

0:06:11.546,0:06:14.479
and I just feel, at last,[br]one with the stick

0:06:14.503,0:06:16.162
and one with the drum.

0:06:16.186,0:06:18.299
And I'm doing far, far less.

0:06:18.323,0:06:21.735
So in the same way that I need[br]time with this instrument,

0:06:21.759,0:06:27.086
I need time with people[br]in order to interpret them.

0:06:27.110,0:06:29.798
Not just translate them,[br]but interpret them.

0:06:29.822,0:06:36.009
If, for example, I play just[br]a few bars of a piece of music

0:06:37.289,0:06:42.679
for which I think of myself[br]as a technician --

0:06:42.703,0:06:46.959
that is, someone who is basically[br]a percussion player --

0:06:46.983,0:06:49.229
(Marimba sounds)

0:06:57.973,0:06:59.870
(Marimba sounds end)

0:06:59.894,0:07:03.082
And so on, if I think of myself[br]as a musician --

0:07:03.106,0:07:05.174
(Marimba sounds)

0:07:22.867,0:07:24.910
(Marimba sounds end)

0:07:24.934,0:07:26.108
And so on.

0:07:26.132,0:07:29.994
There is a little bit of a difference[br]there that is worth just --

0:07:30.018,0:07:32.569
(Applause)

0:07:32.593,0:07:33.976
thinking about.

0:07:34.000,0:07:37.909
And I remember when I was 12 years old,

0:07:37.933,0:07:41.051
and I started playing timpani[br]and percussion,

0:07:41.075,0:07:43.505
and my teacher said,

0:07:43.529,0:07:49.182
"Well, how are we going to do this?[br]You know, music is about listening."

0:07:49.206,0:07:53.877
And I said, "Yes, I agree with that,[br]so what's the problem?"

0:07:53.901,0:07:56.320
And he said, "Well,[br]how are you going to hear this?

0:07:56.344,0:07:57.902
How are you going to hear that?"

0:07:57.926,0:08:00.008
And I said, "Well, how do you hear it?"

0:08:00.507,0:08:03.976
He said, "Well, I think[br]I hear it through here."

0:08:04.000,0:08:09.374
And I said, "Well, I think I do too,[br]but I also hear it through my hands,

0:08:09.398,0:08:12.937
through my arms, cheekbones, my scalp,

0:08:12.961,0:08:15.978
my tummy, my chest, my legs and so on."

0:08:16.002,0:08:20.834
And so we began our lessons[br]every single time

0:08:20.858,0:08:24.800
tuning drums, in particular,[br]the kettle drums, or timpani

0:08:24.824,0:08:29.837
to such a narrow pitch interval,[br]so something like --

0:08:30.606,0:08:33.218
(Marimba sounds)

0:08:35.040,0:08:36.213
that of a difference.

0:08:36.237,0:08:37.439
Then gradually:

0:08:37.463,0:08:38.620
(Marimba sounds)

0:08:38.644,0:08:39.824
And gradually:

0:08:39.848,0:08:41.639
(Marimba sounds)

0:08:41.663,0:08:45.722
And it's amazing that when you do[br]open your body up,

0:08:45.746,0:08:49.721
and open your hand up to allow[br]the vibration to come through,

0:08:49.745,0:08:52.068
that in fact the tiny, tiny difference --

0:08:52.092,0:08:54.151
(Marimba sounds)

0:08:54.175,0:09:00.257
can be felt with just the tiniest[br]part of your finger, there.

0:09:00.281,0:09:03.147
And so what we would do[br]is that I would put my hands

0:09:03.171,0:09:05.486
on the wall of the music room,

0:09:05.510,0:09:10.704
and together, we would "listen"[br]to the sounds of the instruments,

0:09:10.728,0:09:14.564
and really try to connect[br]with those sounds

0:09:14.588,0:09:18.981
far, far more broadly[br]than simply depending on the ear.

0:09:19.005,0:09:23.648
Because of course, the ear[br]is subject to all sorts of things.

0:09:23.672,0:09:26.641
The room we happen to be in,[br]the amplification,

0:09:26.665,0:09:29.400
the quality of the instrument,[br]the type of sticks --

0:09:29.424,0:09:31.505
(Marimba sounds)

0:09:35.844,0:09:37.791
(Marimba sounds end)

0:09:37.815,0:09:39.634
Etc., etc., they're all different.

0:09:39.658,0:09:41.658
(Marimba sounds)

0:09:44.117,0:09:46.214
(Marimba sounds end)

0:09:46.238,0:09:50.823
Same amount of weight,[br]but different sound colors.

0:09:50.847,0:09:53.751
And that's basically what we are;[br]we're just human beings,

0:09:53.775,0:09:56.940
but we all have our own[br]little sound colors, as it were,

0:09:56.964,0:10:00.613
that make up these extraordinary[br]personalities and characters

0:10:00.637,0:10:02.510
and interests and things.

0:10:02.534,0:10:05.534
And as I grew older, I then auditioned

0:10:05.558,0:10:07.976
for the Royal Academy of Music in London,

0:10:08.000,0:10:12.274
and they said, "Well, no, we won't[br]accept you, because we haven't a clue,

0:10:12.298,0:10:16.951
you know, of the future[br]of a so-called 'deaf musician.'"

0:10:16.975,0:10:21.502
And I just couldn't quite accept that.

0:10:21.526,0:10:28.094
And so therefore, I said to them,[br]"Well, look, if you refuse --

0:10:28.118,0:10:31.443
if you refuse me through those reasons,

0:10:31.467,0:10:36.235
as opposed to the ability to perform

0:10:36.259,0:10:42.976
and to understand and love[br]the art of creating sound --

0:10:43.000,0:10:49.239
then we have to think very, very hard[br]about the people you do actually accept."

0:10:49.263,0:10:53.521
And as a result,[br]once we got over a little hurdle,

0:10:53.545,0:10:55.554
and having to audition twice,

0:10:55.578,0:10:57.793
they accepted me.

0:10:57.817,0:10:59.183
And not only that,

0:10:59.207,0:11:04.850
what had happened was that it changed[br]the whole role of the music institutions

0:11:04.874,0:11:06.826
throughout the United Kingdom.

0:11:06.850,0:11:10.798
Under no circumstances were they to refuse

0:11:10.822,0:11:14.737
any application whatsoever

0:11:14.761,0:11:18.269
on the basis of whether someone[br]had no arms, no legs --

0:11:18.293,0:11:22.821
they could still perhaps play a wind[br]instrument if it was supported on a stand.

0:11:23.368,0:11:29.623
No circumstances at all[br]were used to refuse any entry.

0:11:29.647,0:11:34.485
And every single entry[br]had to be listened to, experienced,

0:11:34.509,0:11:37.066
and then, based on the musical ability,

0:11:37.090,0:11:42.342
then that person[br]could either enter or not.

0:11:42.366,0:11:45.520
And so therefore, this in turn meant

0:11:45.544,0:11:49.181
that there was an extremely[br]interesting bunch of students

0:11:49.205,0:11:52.555
who arrived in these various[br]music institutions,

0:11:52.579,0:11:57.068
and I have to say, many of them now[br]in the professional orchestras

0:11:57.092,0:11:59.071
throughout the world.

0:11:59.095,0:12:01.781
The interesting thing[br]about this as well, though --

0:12:01.805,0:12:05.976
(Applause)

0:12:06.000,0:12:12.790
is quite simply that not only were people[br]connected with sound --

0:12:12.814,0:12:14.325
which is basically all of us --

0:12:14.349,0:12:19.271
we well know that music[br]really is our daily medicine.

0:12:19.295,0:12:21.976
I say "music," but actually[br]I mean "sound."

0:12:22.000,0:12:26.625
Because some of the extraordinary[br]things I've experienced as a musician --

0:12:26.649,0:12:30.788
when you may have a 15-year-old lad

0:12:30.812,0:12:35.541
who has got the most[br]incredible challenges,

0:12:35.565,0:12:38.302
who may not be able[br]to control his movements,

0:12:38.326,0:12:41.339
who may be deaf,[br]who may be blind, etc., etc. --

0:12:41.363,0:12:47.393
suddenly, if that young lad[br]sits close to this instrument,

0:12:47.417,0:12:50.228
and perhaps even lies[br]underneath the marimba,

0:12:50.252,0:12:55.976
and you play something[br]that's so incredibly organ-like, almost --

0:12:56.000,0:12:58.860
I don't really have[br]the right sticks, perhaps --

0:12:58.884,0:13:02.707
but something like this --[br]let me change --

0:13:04.935,0:13:07.473
(Soft marimba sounds)

0:13:50.167,0:13:52.802
(Soft marimba sounds end)

0:13:52.826,0:13:55.708
Something that's so unbelievably simple --

0:13:55.732,0:14:00.052
but he would be experiencing[br]something that I wouldn't be,

0:14:00.076,0:14:02.494
because I'm on top of the sound.

0:14:02.518,0:14:04.784
I have the sound coming this way.

0:14:04.808,0:14:08.366
He would have the sound[br]coming through the resonators.

0:14:08.390,0:14:11.525
If there were no resonators[br]on here, we would have:

0:14:11.894,0:14:16.967
(Marimba sounds)

0:14:18.106,0:14:20.425
So he would have a fullness of sound

0:14:20.449,0:14:23.447
that those of you in the front few rows[br]wouldn't experience,

0:14:23.471,0:14:26.616
those of you in the back few rows[br]wouldn't experience, either.

0:14:26.640,0:14:29.733
Every single one of us,[br]depending on where we're sitting,

0:14:29.757,0:14:33.534
will experience this sound[br]quite, quite differently.

0:14:33.558,0:14:36.428
And of course, being[br]the participator of the sound,

0:14:36.452,0:14:41.278
and that is, starting from the idea[br]of what type of sound

0:14:41.302,0:14:44.587
I want to produce,[br]for example, this sound:

0:14:45.000,0:14:47.000
(No sound)

0:14:51.171,0:14:52.335
Can you hear anything?

0:14:54.108,0:14:56.854
Exactly -- because[br]I'm not even touching it.

0:14:56.878,0:14:58.403
(Laughter)

0:14:58.427,0:15:03.054
But yet, we get the sensation[br]of something happening.

0:15:03.078,0:15:05.637
In the same way[br]that when I see a tree moves,

0:15:05.661,0:15:09.879
then I imagine that tree[br]making a rustling sound.

0:15:09.903,0:15:11.129
Do you see what I mean?

0:15:11.153,0:15:15.270
Whatever the eye sees,[br]then there's always sound happening.

0:15:15.294,0:15:19.489
So there's always, always that huge --

0:15:19.513,0:15:23.799
I mean, just this kaleidoscope[br]of things to draw from.

0:15:23.823,0:15:29.792
So all of my performances[br]are based on entirely what I experience,

0:15:29.816,0:15:32.312
and not by learning a piece of music,

0:15:32.336,0:15:34.538
putting on someone else's[br]interpretation of it,

0:15:34.562,0:15:37.741
buying all the CDs possible[br]of that particular piece of music,

0:15:37.765,0:15:39.131
and so on and so forth,

0:15:39.155,0:15:45.507
because that isn't giving me enough[br]of something that is so raw and so basic,

0:15:45.531,0:15:50.658
and something that I can fully[br]experience the journey of.

0:15:50.682,0:15:54.909
So it may be that, in certain halls,

0:15:54.933,0:15:59.701
this dynamic may well work.

0:16:00.169,0:16:02.461
(Soft marimba sounds)

0:16:07.370,0:16:09.372
(Soft marimba sounds end)

0:16:09.396,0:16:10.928
It may be that in other halls,

0:16:10.952,0:16:14.187
they're simply not going[br]to experience that at all,

0:16:14.211,0:16:18.419
and so therefore, my level of soft,[br]gentle playing may have to be --

0:16:18.443,0:16:21.602
(Marimba sounds)

0:16:40.470,0:16:42.471
(Marimba sounds end)

0:16:42.495,0:16:43.837
Do you see what I mean?

0:16:43.861,0:16:50.119
So, because of this explosion[br]in access to sound,

0:16:50.143,0:16:52.654
especially through the Deaf community,

0:16:52.678,0:16:57.105
this has not only affected[br]how music institutions,

0:16:57.129,0:17:03.898
how schools for the deaf treat sound,[br]and not just as a means of therapy --

0:17:03.922,0:17:06.535
although, of course,[br]being a participator of music,

0:17:06.559,0:17:09.157
that definitely is the case as well --

0:17:09.181,0:17:14.280
but it's meant that acousticians[br]have had to really think

0:17:14.304,0:17:18.326
about the types of halls[br]they put together.

0:17:18.350,0:17:20.814
There are so few halls in this world

0:17:20.838,0:17:26.155
that actually have[br]very good acoustics, dare I say.

0:17:26.179,0:17:31.764
But by that I mean, where you can[br]absolutely do anything you imagine.

0:17:31.788,0:17:36.606
The tiniest, softest, softest sound[br]to something that is so broad,

0:17:36.630,0:17:39.352
so huge, so incredible.

0:17:39.376,0:17:40.770
There's always something:

0:17:40.794,0:17:43.298
it may sound good up there,[br]may not be so good there;

0:17:43.322,0:17:45.465
it may be great there,[br]but terrible up there;

0:17:45.489,0:17:49.673
maybe terrible over there,[br]but not too bad there, etc., etc.

0:17:49.697,0:17:54.119
So to find an actual hall is incredible --

0:17:54.143,0:17:58.219
for which you can play[br]exactly what you imagine,

0:17:58.243,0:18:01.350
without it being cosmetically enhanced.

0:18:01.374,0:18:06.431
So therefore, acousticians[br]are actually in conversation

0:18:06.455,0:18:09.750
with people who are hearing impaired,

0:18:09.774,0:18:14.625
and who are participators of sound.

0:18:14.649,0:18:16.476
And this is quite interesting.

0:18:16.500,0:18:20.487
I cannot give you any detail

0:18:20.511,0:18:24.248
as far as what is actually happening[br]with those halls,

0:18:24.272,0:18:28.380
but it's just the fact[br]that they are going to a group of people

0:18:28.404,0:18:32.350
for whom so many years, we've been saying,

0:18:32.374,0:18:35.715
"Well, how on earth can they experience[br]music? They're deaf."

0:18:35.739,0:18:39.054
We go like that, and we imagine[br]that's what deafness is about.

0:18:39.078,0:18:42.214
Or we go like that, and we imagine[br]that's what blindness is about.

0:18:42.238,0:18:46.060
If we see someone in a wheelchair,[br]we assume they cannot walk.

0:18:46.084,0:18:49.608
It may be that they can walk[br]three, four, five steps.

0:18:49.632,0:18:52.483
That, to them, means they can walk.

0:18:53.594,0:18:56.633
In a year's time,[br]it could be two extra steps.

0:18:57.299,0:19:00.052
In another year's time, three extra steps.

0:19:00.076,0:19:04.779
Those are hugely important[br]aspects to think about.

0:19:04.803,0:19:08.976
So when we do listen to each other,

0:19:09.000,0:19:12.689
it's unbelievably important for us

0:19:12.713,0:19:17.331
to really test our listening skills,

0:19:17.355,0:19:20.827
to really use our bodies[br]as a resonating chamber,

0:19:20.851,0:19:22.500
to stop the judgment.

0:19:22.524,0:19:26.395
For me, as a musician who deals[br]with 99 percent of new music,

0:19:26.419,0:19:28.343
it's very easy for me to say,

0:19:28.367,0:19:31.968
"Oh yes, I like that piece.[br]No, I don't like that piece," and so on.

0:19:31.992,0:19:37.121
And I just find that I have to give[br]those pieces of music real time.

0:19:37.145,0:19:40.418
It may be that the chemistry[br]isn't quite right between myself

0:19:40.442,0:19:42.219
and that particular piece of music,

0:19:42.243,0:19:46.725
but that doesn't mean I have the right[br]to say it's a bad piece of music.

0:19:47.077,0:19:52.177
And you know, one of the great things[br]about being a musician

0:19:52.201,0:19:55.757
is that it is so unbelievably fluid.

0:19:55.781,0:20:00.185
So there are no rules, no right,[br]no wrong, this way, that way.

0:20:00.209,0:20:05.037
If I asked you to clap --[br]maybe I can do this.

0:20:05.061,0:20:11.435
If I can just say, "Please clap[br]and create the sound of thunder."

0:20:11.459,0:20:14.758
I'm assuming we've all[br]experienced thunder.

0:20:14.782,0:20:16.364
Now, I don't mean just the sound;

0:20:16.388,0:20:21.305
I mean really listen[br]to that thunder within yourselves.

0:20:21.329,0:20:23.787
And please try to create that[br]through your clapping.

0:20:23.811,0:20:25.760
Try, just -- please try.

0:20:25.784,0:20:29.053
(Loud clapping sounds)

0:20:33.561,0:20:34.711
(Clapping ends)

0:20:35.103,0:20:36.461
Snow.

0:20:36.485,0:20:38.621
(Laughter)

0:20:38.645,0:20:39.813
Snow.

0:20:39.837,0:20:42.073
(Soft clapping sounds)

0:20:42.097,0:20:43.642
Have you ever heard snow?

0:20:43.666,0:20:44.817
Audience: No.

0:20:44.841,0:20:46.999
Evelyn Glennie: Well, then, stop clapping.

0:20:47.023,0:20:48.422
(Laughter)

0:20:48.446,0:20:51.651
Try again. Try again: snow.

0:20:52.016,0:20:55.060
(No sound)

0:20:55.822,0:20:57.426
See, you're awake.

0:20:58.095,0:20:59.342
Rain.

0:20:59.714,0:21:01.403
(Light clapping sounds)

0:21:01.887,0:21:03.340
EG: (Laughs)

0:21:04.354,0:21:07.084
Not bad. Not bad.

0:21:07.108,0:21:11.864
The interesting thing here, though,[br]is that I asked a group of kids

0:21:11.888,0:21:13.591
not so long ago

0:21:13.615,0:21:15.780
exactly the same question.

0:21:15.804,0:21:19.183
Now -- great imagination,[br]thank you very much.

0:21:19.207,0:21:22.029
However, not one of you got out[br]of your seats to think,

0:21:22.053,0:21:23.720
"Right! How can I clap?

0:21:23.744,0:21:24.966
OK, maybe:

0:21:24.990,0:21:27.499
(Clapping sounds)

0:21:27.523,0:21:30.355
Maybe I can use my jewelry[br]to create extra sounds.

0:21:30.379,0:21:34.415
Maybe I can use the other parts[br]of my body to create extra sounds."

0:21:34.439,0:21:39.832
Not a single one of you thought[br]about clapping in a slightly different way

0:21:39.856,0:21:42.974
other than sitting in your seats[br]there and using two hands.

0:21:42.998,0:21:45.143
In the same way, when we listen to music,

0:21:45.167,0:21:49.108
we assume that it's all being[br]fed through here.

0:21:49.132,0:21:51.676
This is how we experience music.

0:21:51.700,0:21:53.371
Of course, it's not.

0:21:53.395,0:21:56.218
We experience thunder, thunder, thunder.

0:21:56.242,0:21:57.439
Think, think, think.

0:21:57.463,0:21:59.353
Listen, listen, listen.

0:21:59.852,0:22:03.599
Now, what can we do with thunder?

0:22:04.266,0:22:09.660
I remember my teacher, when I first[br]started, my very first lesson,

0:22:09.684,0:22:13.069
I was all prepared[br]with sticks, ready to go.

0:22:13.093,0:22:17.889
And instead of him saying,[br]"OK, Evelyn, please, feet slightly apart,

0:22:17.913,0:22:23.753
arms at a more or less 90-degree angle,[br]sticks in a more or less V shape,

0:22:23.777,0:22:26.821
keep this amount of space here, etc.

0:22:26.845,0:22:29.399
Please keep your back straight,[br]etc., etc., etc." --

0:22:29.423,0:22:33.587
where I was just probably going to end up[br]absolutely rigid, frozen,

0:22:33.611,0:22:35.620
and I would not be able to strike the drum

0:22:35.644,0:22:37.864
because I was thinking[br]of so many other things,

0:22:37.888,0:22:40.451
he said, "Evelyn, take this drum[br]away for seven days,

0:22:40.475,0:22:42.260
and I'll see you next week."

0:22:42.284,0:22:44.689
So -- heavens! What was I to do?

0:22:44.713,0:22:47.191
I no longer required the sticks.

0:22:47.215,0:22:49.363
I wasn't allowed to have these sticks.

0:22:49.387,0:22:53.024
I had to basically look[br]at this particular drum,

0:22:53.048,0:22:54.721
see how it was made,

0:22:54.745,0:22:57.761
what these little lugs did,[br]what the snares did.

0:22:57.785,0:23:00.737
Turned it upside down,[br]experimented with the shell.

0:23:00.761,0:23:02.474
(Drum sounds)

0:23:02.498,0:23:03.844
Experimented with the head.

0:23:03.868,0:23:05.330
(Drum sounds)

0:23:05.354,0:23:07.134
Experimented with my body.

0:23:07.158,0:23:08.952
(Drum sounds)

0:23:08.976,0:23:10.800
Experimented with jewelry.

0:23:10.824,0:23:12.912
Experimented with all sorts of things.

0:23:12.936,0:23:16.315
(Drum sounds)

0:23:19.356,0:23:21.832
(Drum sounds end)

0:23:23.182,0:23:26.382
And of course, I returned[br]with all sorts of bruises.

0:23:26.406,0:23:27.657
(Laughter)

0:23:27.681,0:23:31.041
But nevertheless, it was such[br]an unbelievable experience,

0:23:31.065,0:23:35.767
because where on earth are you going[br]to experience that in a piece of music?

0:23:35.791,0:23:39.777
Where on earth are you going[br]to experience that in a study book?

0:23:39.801,0:23:43.506
So we never, ever dealt[br]with actual study books.

0:23:43.530,0:23:46.186
So for example,[br]one of the things that we learn

0:23:46.210,0:23:50.894
when we are dealing[br]with being a percussion player

0:23:50.918,0:23:52.277
as opposed to a musician,

0:23:52.301,0:23:55.906
is basically, straightforward[br]single-stroke rolls.

0:23:55.930,0:23:59.554
(Drum sounds)

0:23:59.578,0:24:01.688
Like that, and then[br]we get a little faster --

0:24:01.712,0:24:02.880
(Drum sounds)

0:24:02.904,0:24:04.100
and a little faster --

0:24:04.124,0:24:05.302
(Drum sounds)

0:24:05.326,0:24:07.808
and a little faster,[br]and so on and so forth.

0:24:07.832,0:24:09.271
What does this piece require?

0:24:09.295,0:24:10.670
Single-stroke rolls.

0:24:10.694,0:24:13.893
(Drum sound)

0:24:13.917,0:24:17.379
So why can't I then do that[br]whilst learning a piece of music?

0:24:17.403,0:24:20.221
And that's exactly what he did.

0:24:20.245,0:24:25.595
And interestingly, the older I became,[br]and when I became a full-time student

0:24:25.619,0:24:30.877
at a so-called "music institution,"[br]all of that went out of the window.

0:24:30.901,0:24:33.642
We had to study from study books.

0:24:33.666,0:24:37.767
And constantly, the question, "Well, why?[br]Why? What is this relating to?

0:24:37.791,0:24:39.391
I need to play a piece of music."

0:24:39.415,0:24:41.172
"Well, this will help your control."

0:24:41.196,0:24:43.755
"Well, how? Why do I need to learn that?

0:24:43.779,0:24:46.284
I need to relate it to a piece of music.

0:24:46.308,0:24:48.870
You know, I need to say something.

0:24:48.894,0:24:51.000
Why am I practicing paradiddles?

0:24:51.024,0:24:55.006
(Drum sounds)

0:24:55.030,0:24:58.897
Is it just literally for control,[br]for hand-stick control?

0:24:58.921,0:25:00.305
Why am I doing that?

0:25:00.329,0:25:02.729
I need to have the reason,

0:25:02.753,0:25:08.334
and the reason has to be by saying[br]something through the music."

0:25:08.358,0:25:12.851
And by saying something through music,[br]which basically is sound,

0:25:12.875,0:25:17.247
we then can reach all sorts[br]of things to all sorts of people.

0:25:17.271,0:25:21.520
But I don't want to take responsibility[br]of your emotional baggage.

0:25:21.544,0:25:23.768
That's up to you,[br]when you walk through a hall,

0:25:23.792,0:25:29.126
because that then determines[br]what and how we listen to certain things.

0:25:29.150,0:25:34.431
I may feel sorrowful, or happy,[br]or exhilarated, or angry

0:25:34.455,0:25:36.243
when I play certain pieces of music,

0:25:36.267,0:25:41.144
but I'm not necessarily wanting you[br]to feel exactly the same thing.

0:25:41.168,0:25:44.272
So please, the next time[br]you go to a concert,

0:25:44.296,0:25:47.941
just allow your body to open up,

0:25:47.965,0:25:51.047
allow your body to be[br]this resonating chamber.

0:25:51.071,0:25:54.348
Be aware that you're not going[br]to experience the same thing

0:25:54.372,0:25:56.078
as the performer is.

0:25:56.102,0:25:59.842
The performer is in the worst possible[br]position for the actual sound,

0:25:59.866,0:26:03.422
because they're hearing[br]the contact of the stick --

0:26:03.446,0:26:04.958
(Drum sound)

0:26:04.982,0:26:07.851
on the drum, or the mallet[br]on the bit of wood,

0:26:07.875,0:26:10.062
or the bow on the string, etc.,

0:26:10.086,0:26:14.224
or the breath that's creating[br]the sound from wind and brass.

0:26:14.248,0:26:16.769
They're experiencing that rawness there.

0:26:16.793,0:26:20.641
But yet they're experiencing[br]something so unbelievably pure,

0:26:20.665,0:26:24.495
which is before the sound[br]is actually happening.

0:26:24.519,0:26:31.075
Please take note of the life of the sound[br]after the actual initial strike,

0:26:31.099,0:26:33.504
or breath, is being pulled.

0:26:33.528,0:26:37.776
Just experience the whole[br]journey of that sound

0:26:37.800,0:26:41.398
in the same way that I wished[br]I'd experienced the whole journey

0:26:41.422,0:26:45.851
of this particular conference,[br]rather than just arriving last night.

0:26:45.875,0:26:50.532
But I hope maybe we can share[br]one or two things as the day progresses.

0:26:50.556,0:26:53.295
But thank you very much for having me!

0:26:53.319,0:26:56.553
(Applause)

0:26:59.262,0:27:00.960
(Applause ends)

0:27:12.957,0:27:15.979
(Music)

0:31:37.631,0:31:39.901
(Music ends)

0:31:43.244,0:31:50.244
(Applause)