who went down to Africa in the 1900s.

他們在1900年代南下非洲。

They were sent down to find if there was any opportunity

他們被派遣去調查那裡

for selling shoes,

是否有賣鞋子商機。

and they wrote telegrams back to Manchester.

在他們發回曼徹斯特的電報中，

And one of them wrote, "Situation hopeless. Stop.

一個人寫著：＂毫無商機，停止計畫。

They don't wear shoes."

他們不穿鞋子。＂

And the other one wrote, "Glorious opportunity.

另一個人寫著：＂大好商機！

They don't have any shoes yet."

他們都沒穿鞋子！＂

(Laughter)

（笑聲）

Now, there's a similar situation in the classical music world,

在古典音樂的世界也有類似的情況，

because there are some people who think

因為有人認為

that classical music is dying.

古典音樂正在消逝。

And there are some of us who think you ain't seen nothing yet.

有些人則認為最好的還沒出現呢。

And rather than go into statistics and trends,

我不想引用統計數字、趨勢圖

and tell you about all the orchestras that are closing,

來告訴你們哪些交響樂團將要結束，

and the record companies that are folding,

還有哪些唱片公司快要關閉。

I thought we should do an experiment tonight -- an experiment.

今晚我們要來做個實驗，一個實驗。

Actually, it's not really an experiment, because I know the outcome.

事實上，也不算是個實驗，因為我已知道結果。

But it's like an experiment. Now, before we --

但像是個實驗。在我們開始之前--

(Laughter)

（笑聲）

-- before we start, I need to do two things.

-- 在我們開始之前，讓我們先做兩件事情。

One is I want to remind you of what a seven-year-old child

第一，請回想一位七歲小孩

sounds like when he plays the piano.

在彈鋼琴時的樣子。

Maybe you have this child at home.

你家的小孩可能會像這樣。

He sounds something like this.

就像這樣彈鋼琴。

(Piano)

(鋼琴聲)

I see some of you recognize this child.

有人看過這樣子彈琴的小孩。

Now, if he practices for a year and takes lessons, he's now eight

如果他練習了一年，繼續上鋼琴課，現在他八歲了，

and he sounds like this.

他會像我這樣彈鋼琴。

(Piano)

(鋼琴聲)

Then he practices for another year and takes lessons -- now he's nine.

然後又練習一年，繼續上課，現在他九歲了。

(Piano)

(鋼琴聲)

Then he practices for another and takes lessons -- now he's 10.

然後他再練習一年，繼續上課，現在他十歲了。

(Piano)

(鋼琴聲)

At that point, they usually give up.

然後他們就不練了。

(Laughter)

(笑聲)

(Applause)

(掌聲)

Now, if you'd waited, if you'd waited for one more year,

如果你再等等，再等一年。

you would have heard this.

你會聽到這樣的鋼琴聲：

(Piano)

(鋼琴聲)

Now, what happened was not maybe what you thought,

你可能想不到他會彈出這樣的音樂，

which is, he suddenly became passionate, engaged,

突然間他變得有熱情、陶醉、

involved, got a new teacher, he hit puberty, or whatever it is.

投入、有個新老師、步入青春期、或其他的各種可能。

What actually happened was the impulses were reduced.

事實上只有減少律動的次數。

You see, the first time, he was playing

你看，他第一次彈鋼琴時，

with an impulse on every note.

每個音符動一下。

(Piano)

(鋼琴聲)

And the second, with an impulse every other note.

每二個音符動一下。

(Piano)

(鋼琴聲)

You can see it by looking at my head.

看著我的頭就知道了。

(Laughter)

(笑聲)

The nine-year-old

九歲的小孩，九歲的小孩

put an impulse on every four notes.

每四個音符動一下。

(Piano)

(鋼琴課)

And the 10-year-old, on every eight notes.

十歲的孩子，每八個音符動一下。

(Piano)

(鋼琴聲)

And the 11-year-old, one impulse on the whole phrase.

十一歲的孩子，整個樂句動一下。

(Piano)

(鋼琴聲)

I know -- I don't know how we got into this position.

我也不知道我怎麼會變成這個姿勢。

(Laughter)

(笑聲)

I didn't say, "I'm going to move my shoulder over, move my body."

我也沒想到要去移動我的肩膀，移動我的身體。

No, the music pushed me over,

不是我，是音樂推著我移動。

which is why I call it one-buttock playing.

所以我叫它為半個屁股的演奏。

(Piano)

(鋼琴聲)

It can be the other buttock.

另一個半個屁股的演奏。

(Piano)

(鋼琴聲)

You know, a gentleman was once watching a presentation I was doing,

有一位男士曾看過我的演講

when I was working with a young pianist.

當時我正在指導一位年青的鋼琴家。

He was the president of a corporation in Ohio.

他是俄亥俄州一家公司的董事長。

And I was working with this young pianist

當時我正在指導一位年青的鋼琴家

and I said, "The trouble with you is you're a two-buttock player.

我告訴他，＂你的問題在於你彈鋼琴時穩穩的坐在屁股上。

You should be a one-buttock player."

你應該當個半個屁股的演奏家。＂

And I moved his body like that, while he was playing.

當他演奏時我這樣地移動他的身體。

And suddenly, the music took off. It took flight.

突然間音樂飛了起來。音樂飛了起來。

There was a gasp in the audience when they heard the difference.

當觀眾聽出變化時都非常驚呀。

And then I got a letter from this gentleman.

接著我就收到這位男士的來信。

He said, "I was so moved.

他說，＂我深受感動。

I went back and I transformed my entire company

我一回去就把整個公司

into a one-buttock company."

變成半個屁股的公司。

(Laughter)

(笑聲)

Now, the other thing I wanted to do is to tell you about you.

我還要說另一件與你們有關的事。

There are 1,600 people, I believe.

這裡大約有1,600人。

My estimation is that probably 45 of you

我預估其中大概有45位

are absolutely passionate about classical music.

是非常熱愛古典樂。

You adore classical music. Your FM is always on that classical dial.

你極為喜愛古典樂。你的收音機總是調到古典音樂頻道。

And you have CDs in your car, and you go to the symphony.

你車上放的是古典樂ＣＤ，你會去聽音樂會。

And your children are playing instruments.

你的孩子也會演奏樂器。

You can't imagine your life without classical music.

你無法想像沒有古典樂的日子。

That's the first group; it's quite a small group.

這是第一種類型；人數相當少的一種類型。

Then there's another group, bigger group.

還有另一種類型，人數較多的一種類型。

These are the people who don't mind classical music.

他們"不排斥"古典音樂。

(Laughter)

(笑聲)

You know, you've come home from a long day,

在你忙了一天回到家時

and you take a glass of wine, and you put your feet up.

倒一杯紅酒，翹起腿。

A little Vivaldi in the background doesn't do any harm.

來點韋瓦弟當做背景音樂也無妨。

(Laughter)

(笑聲)

That's the second group.

這是第二種類型。

Now comes the third group.

再來是第三種類型。

These are the people who never listen to classical music.

這些人從來不聽古典音樂。

It's just simply not part of your life.

古典音樂從來不是你們生活的一部份。

You might hear it like second-hand smoke at the airport, but --

你們可能像在機場吸二手煙一樣從別處聽到，但是--

(Laughter)

(笑聲)

-- and maybe a little bit of a march from "Aida"

--可能聽到一些歌劇阿伊達中的進行曲

when you come into the hall. But otherwise, you never hear it.

在你進入機場大廳時候。除此之外你就沒聽過古典樂。

That's probably the largest group of all.

這一種類型人數應該最多。

And then there's a very small group.

最後人數非常少的一種類型。

These are the people who think they're tone-deaf.

他們自認是音痴。

Amazing number of people think they're tone-deaf.

相當多的人自認是音痴。

Actually, I hear a lot, "My husband is tone-deaf."

事實上我聽過很多人說，＂我的先生是個音痴。＂

(Laughter)

(笑聲)

Actually, you cannot be tone-deaf. Nobody is tone-deaf.

其實你不可能是音痴。没有人是音痴。

If you were tone-deaf, you couldn't change the gears

如果你是音痴，你就無法換檔開車，

on your car, in a stick shift car.

如果你開的是一台手排車。

You couldn't tell the difference between

你就無法分辦

somebody from Texas and somebody from Rome.

那人是德州來的還是羅馬來的

And the telephone. The telephone. If your mother calls

在你聽電話時。聽電話時。所以當你媽媽打電話給你時

on the miserable telephone, she calls and says, "Hello,"

透過那老舊的話筒，當她說＂哈囉＂時，

you not only know who it is, you know what mood she's in.

你不僅知道她是誰，你還知道她當時的心情如何。

You have a fantastic ear. Everybody has a fantastic ear.

你有神奇的耳。每個人都有神奇的耳朵。

So nobody is tone-deaf.

沒有人是音癡。

But I tell you what. It doesn't work for me to go on with this thing,

但我要告訴你。我無法再忍受下去

with such a wide gulf between those who understand,

竟然有如此巨大的差距介於

love and [are] passionate about classical music,

熱愛古典音樂的人，

and those who have no relationship to it at all.

以及與古典音樂毫無關係的人之間。

The tone-deaf people, they're no longer here.

被當成音痴的人，現在起再也不是音痴。

But even between those three categories, it's too wide a gulf.

即使這三種類型之間的差距是這麼的大。

So I'm not going to go on until every single person in this room,

我絶不罷手，除非在這個房間的每個人，

downstairs and in Aspen, and everybody else looking,

樓下的每個人，Aspen的每個人，以及其他所有正在觀看的人，

will come to love and understand classical music.

都能熱愛古典音樂並懂得古典音樂。

So that's what we're going to do.

這就是我們想達成的目標。

Now, you notice that there is not the slightest doubt in my mind

你們可以感受到在我心中没有絲毫的懷疑，

that this is going to work if you look at my face, right?

你們可以從我的臉上看出我確信這一定會成功。

It's one of the characteristics of a leader that he not doubt

領導者的特質之一

for one moment the capacity of the people he's leading

是他永遠確信他所帶領的人

to realize whatever he's dreaming.

有能力去實行他的理想。

Imagine if Martin Luther King had said, "I have a dream.

試想馬丁路德說，＂我有一個夢。

Of course, I'm not sure they'll be up to it."

不過，我懷疑他們做得到。＂

(Laughter)

(笑聲)

All right. So I'm going to take a piece of Chopin.

我要彈一首蕭邦的曲子。

This is a beautiful prelude by Chopin. Some of you will know it.

這是一首蕭邦美麗的序曲。應該有人聽過。

(Music)

(鋼琴聲)

Do you know what I think probably happened in this room?

猜猜接下來會發生甚麼事?

When I started, you thought, "How beautiful that sounds."

當我剛開始彈時，你們心想，＂這音樂多美啊。＂

(Music)

(鋼琴聲)

"I don't think we should go to the same place

明年夏天我不想

for our summer holidays next year."

再到相同的地點渡假。＂

(Laughter)

(笑聲)

It's funny, isn't it? It's funny how those thoughts

很好玩，是不是?看看這些思緒是如何

kind of waft into your head.

飄進你的腦袋。

And of course --

當然--

(Applause)

(掌聲)

-- and of course, if the piece is long and you've had a long day,

--當然，首子如果太長而你又忙了一天，

you might actually drift off.

你可能會真的睡著了。

Then your companion will dig you in the ribs

你的同伴會戳你

and say, "Wake up! It's culture!" And then you feel even worse.

說，＂起來！有點文化修養！＂這會使你覺得更糟。

But has it ever occurred to you that the reason you feel sleepy

但你有没有想過聽古典音樂會讓你想睡的原因

in classical music is not because of you, but because of us?

不在於你，而在於我們？

Did anybody think while I was playing,

當我在演奏時，有沒有人在想，

"Why is he using so many impulses?"

＂為什麼他要一直動來動去？＂

If I'd done this with my head you certainly would have thought it.

如果演奏時動著我的頭，你肯定會理解。

(Music)

(鋼琴聲)

And for the rest of your life, every time you hear classical music,

從此以後，你每次聽到古典音樂

you'll always be able to know if you hear those impulses.

就能知道是否有聽到那些顫動。

So let's see what's really going on here.

讓我們來看看這到底是怎麼回事。

We have a B. This is a B. The next note is a C.

我彈的是Ｂ。這是個Ｂ。下一個音符是Ｃ。

And the job of the C is to make the B sad. And it does, doesn't it?

Ｃ的任務就是讓Ｂ聽起來悲傷。Ｃ做到了，不是嗎？

(Laughter)

(笑聲)

Composers know that. If they want sad music,

作曲家都知道這個。如果想要作首悲傷的曲子

they just play those two notes.

他們只需彈奏這兩個音符。

(Music)

(鋼琴聲)

But basically, it's just a B, with four sads.

基本上就是只是一個Ｂ，和四個悲傷的音符。

(Laughter)

(笑聲)

Now, it goes down to A. Now to G. And then to F.

降到Ａ。降到Ｇ，再降到Ｆ。

So we have B, A, G, F. And if we have B, A, G, F,

我彈了B, A, G, F。如果我彈了B, A, G, F,

what do we expect next? Oh, that might have been a fluke.

你猜下一個音符是什麼？可能只是僥倖猜到。

Let's try it again. Ooh, the TED choir.

再試一下。哇，TED合唱圑。

(Laughter)

(笑聲)

And you notice nobody is tone-deaf, right? Nobody is.

你有沒有注意到沒有人是音痴，對不對？沒有人是音痴。

You know, every village in Bangladesh

孟加拉的每個村莊，

and every hamlet in China -- everybody knows:

以及中國的每個小村子。每個人都知道：

da, da, da, da -- da. Everybody knows, who's expecting that E.

嗒，嗒，嗒，嗒－嗒。每個人都知道接下來是E。

Now, Chopin didn't want to reach the E there,

可是蕭邦還不想彈到E，

because what will have happened? It will be over, like Hamlet.

接下來會如何？曲子就會結束，就像哈姆雷特一樣。

Do you remember Hamlet? Act one, scene three,

你記不記得哈姆雷特的劇情？在第一幕，第三場：

he finds out that his uncle killed his father.

他發現是他的叔父殺了他的父親。

You remember, he keeps on going up to his uncle

你記得他一而再三的走近他的叔父

and almost killing him. And then he backs away,

幾乎就要殺了他。然後他又退卻

and he goes up to him again and almost kills him.

再走近他，幾乎要殺了他。

And the critics, all of whom are sitting in the back row there,

坐在後排的所有劇評家，

they have to have an opinion, so they say, "Hamlet is a procrastinator."

他們的一致評論，"哈姆雷特是個猶豫不決的人"

(Laughter)

(笑聲)

Or they say, "Hamlet has an Oedipus complex."

或者評論，"哈姆雷特有戀母情結。"

No, otherwise the play would be over, stupid.

笨蛋，要不這樣寫戲劇馬上就會結束。

That's why Shakespeare puts all that stuff in Hamlet --

這就是為什麼莎士比亞要在哈姆雷特劇中放入這些情節。

you know, Ophelia going mad and the play within the play,

像是奧菲莉亞的發瘋，劇中劇，

and Yorick's skull, and the gravediggers.

約力克的頭髏，以及盜墓者。

That's in order to delay -- until act five, he can kill him.

都是為了拖延--直到第五幕哈姆雷特才可以殺了他的叔父。

It's the same with the Chopin. He's just about to reach the E,

蕭邦利用同樣的方法。他快要彈到E，

and he says, "Oops, better go back up and do it again."

他說，"喔，最好退回去再來一遍。"

So he does it again.

於是他再來一遍。

Now, he gets excited. (Piano) That's excitement,

他開始變得激昂--這是激昂的段落，

you don't have to worry about it.

不用擔心。

Now, he gets to F-sharp, and finally he goes down to E,

他來到升F，最後降到E，

but it's the wrong chord -- because the chord he's looking for

但和弦不對。因為他所要的和弦

is this one, (Piano) and instead he does ...

是這個和弦，可是他卻用了...

(Piano) Now, we call that a deceptive cadence, because it deceives us.

我們稱它為騙人曲調因為它欺騙了我們。

I always tell my students, "If you have a deceptive cadence,

我總是告訴我的學生，"如果你彈到騙人曲調

be sure to raise your eyebrows. Then everybody will know."

抬高你的眉毛讓大家知道。"

(Laughter)

(笑聲)

(Applause)

(掌聲)

Right. So, he gets to E, but it's the wrong chord.

好的。他彈到E，但是個錯的和弦。

Now, he tries E again. That chord doesn't work.

這次他試著再彈到E。這個和弦也不行。

Now, he tries the E again. That chord doesn't work.

這次他試著再彈到E。這個和弦也不行。

Now, he tries E again, and that doesn't work.

這次他試著再彈到E，這個和弦也不行。

And then finally ... (Piano)

終於...

There was a gentleman in the front row who went, "Mmm."

前排有位男士發出"嗯"的聲音。

It's the same gesture he makes when he comes home

這是當他回到家時所做相同的動作

after a long day, turns off the key in his car and says,

在他忙了一天之後，車子熄好火，

"Aah, I'm home." Because we all know where home is.

"啊，我到家了。"因為我們都知道那裡是家。

So this is a piece which goes from away to home.

這是一首把你從遠遠的地方帶回家的曲子。

And I'm going to play it all the way through

我要整首演奏一遍

and you're going to follow. B, C, B, C, B, C, B --

你跟著琴聲。B,C,B,C,B,C,B--

down to A, down to G, down to F.

降到A，降到G，降到F。

Almost goes to E, but otherwise the play would be over.

快要到E，可是這樣曲子就結束了。

He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E.

他回升到B。音樂變得很激昂。來到升F。來到E。

It's the wrong chord. It's the wrong chord. It's the wrong chord.

和弦不對。和弦不對。和弦不對。

And finally goes to E, and it's home.

終於彈到E，到家了。

And what you're going to see is one-buttock playing.

你看到的是半個屁股的演奏。

(Laughter)

(笑聲)

Because for me, to join the B to the E,

因為對我來說，要從B連到E，

I have to stop thinking about every single note along the way,

我不能去想中間的每一個音符

and start thinking about the long, long line from B to E.