Quotes By Evelyn Glennie

Anything you strike, anything you shake or rattle, or just anything that can be picked up, and you can create a sound.

I associate going to an airport with work because I travel so much with my job. So when I have a few days free from work, I tend to stay at home.

The body's like a huge ear. It's as simple as that.

Once you're in a particular country, and you're surrounded by musicians who are so adept at traditional music, you suddenly realize how much there is to explore and digest and learn and experience.

As we live longer and healthier for longer, we need to keep ourselves busy... the diary is pretty full.

Your mallet or your stick goes through the instrument, the sound goes out and then wherever the sound goes nobody knows, you know.

Hearing is a form of touch. I could hear less through the ears but more through the body.

I like the sparkle of the vibraphone.

The human body and mind are tremendous forces that are continually amazing scientists and society. Therefore, we have no choice but to keep an open mind as to what the human being can achieve.

Hearing is a form of touch. You feel it through your body, and sometimes it almost hits your face.

A lot of things which come with a high profile will always be criticised one way or another.

I'm not a deaf musician. I'm a musician who happens to be deaf.

Holidays are about experiences and people, and tuning into what you feel like doing at that moment. Enjoy not having to look at a watch.

I hope the seeds I have sown will be taken up by those who will follow me because the journey I have begun cannot be undertaken in isolation.

I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.

I've kept a diary since I was 11.

Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.

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.