TED演讲:关于听的艺术(10)
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.
这不仅仅影响了聋人音乐学院处理声音的方式。 同时也不仅仅是治疗的一种方式而已，当然，作为一个音乐的参与者，我完全同意这样的观点。
But it's meant that acousticians have had to really think about the types of halls they put together.
但这意味着，声学工作者需要去仔细考虑一下演奏厅的类型他们所选择的。
There are so few halls in this world that actually have very good acoustics,
在这个世界上，很少有演奏厅，有很棒的音响效果，
dare I say. But by that I mean where you can absolutely do anything you imagine.
我敢说。 但即便如此，你仍然可以展开想象的翅膀，去做任何事。
The tiniest, softest, softest sound to something that is so broad,
最微小，最轻柔的声音对某些东西来说或许它很广阔，
so huge, so incredible! There's always something it may sound good up there, may not be so good there.
很巨大，无法想象。 总有一些东西，在这儿或许听着很不错，在那儿了又或许不那么好。
May be great there, but terrible up there.
在那儿或许很棒，但在上边却糟糕透顶。
Maybe terrible over there, but not too bad there, etc., etc.
在那儿简直是个噩梦，但在这儿听着还不错呢 ，等等等等。
So to find an actual hall is incredible for which you can play exactly what you imagine,
所以找到一个真正意义上合适的演奏大厅是不可能的，像你想象到的那样的效果，
without it being cosmetically enhanced.
并非表面上的修饰和放大。
And so therefore, acousticians are actually in conversation with people who are hearing impaired, and who are participators of sound.
因此，事实上，声音工作者是在和一些听力受损的人们探讨这个问题，事实上他们也是声音的参与者。
And this is quite interesting.
这一点其实很有趣。
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,
我还不能透露目前的进展如何，关于演奏厅的效果，但意义重大的是，他们正向这样一群人寻求帮助，多年来我们常常议论的这样一群人，
Well, how on Earth can they experience music? You know, they're deaf.
瞧，到底他们怎样感知音乐呢？要知道，他们可是失聪的。
We just — we go like that, and we imagine that that's what deafness is about.
我们一直这样，我们想象着聋人应该是怎样的。
Or we go like that, and we imagine that's what blindness is about.
或者我们也这样，我们想象着失明的人应该是怎样的。
这个令人高涨的表演中，聋人打击乐演奏艺术家Evelyn Glennie 展示了，听音乐不仅仅是简单的声波振动耳膜的过程。
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