Placeholder Image

字幕列表 影片播放

已審核 字幕已審核
  • Okay, I have no idea what we're going to play.

    好吧,我不曉得我們今天要彈什麼曲子

  • I won't be able to tell you what it is until it happens.

    開始彈奏前,我沒辦法要告訴你我們打算彈什麼

  • I didn't realize there was going to be a little music before.

    我也不知道在演講開始之前會播放音樂

  • So I think I'm going to start with what I just heard.

    我想就從剛剛聽到的音樂開始好了

  • (Music)

    (音樂)

  • (Applause)

    (掌聲)

  • Okay, so first of all,

    好的,首先

  • let's welcome Mr. Jamire Williams on the drums,

    讓我們歡迎鼓手賈麥爾‧威廉思

  • (Applause)

    (掌聲)

  • Burniss Travis on the bass,

    貝斯手波尼斯‧崔維斯

  • (Applause)

    (掌聲)

  • and Mr. Christian Sands on the piano.

    鋼琴手克力斯帝‧桑德斯

  • (Applause)

    (掌聲)

  • So the bandstand, as we call it,

    我們口中的這個演奏台

  • this is an incredible space.

    是一個很不可思議的地方

  • It is really a sacred space.

    真的是個很神聖的地方

  • And one of the things that is really sacred about it

    這個地方之所以神聖

  • is that you have no opportunity to think about the future,

    有個原因是你沒有機會去思考未來

  • or the past.

    或是過去

  • You really are alive right here in this moment.

    你人在這裡,確實地活在此時此刻

  • There are so many decisions being made

    當你走上演奏台的時候

  • when you walk on the bandstand.

    你要下很多決定

  • We had no idea what key we were going to play in.

    我們剛剛也不知道今天會彈什麼調

  • In the middle, we sort of made our way

    演奏到一半的時候,我們好像還不經意地彈了一首

  • into a song called "Titi Boom."

    叫做《Titi Boom》的曲子

  • But that could have happened -- maybe, maybe not.

    那樣的事情可能發生,也可能不會

  • Everyone's listening. We're responding.

    大家都在聽,我們也在回應

  • You have no time for projected ideas.

    你沒有時間去構思

  • So the idea of a mistake:

    因此,說到"彈錯"

  • From the perspective of a jazz musician,

    從一名爵士音樂家的觀點來看

  • it's easier to talk about someone else's mistake.

    去討論其他人彈錯比較容易些

  • So the way I perceive a mistake when I'm on the bandstand --

    我在台上時,我眼中的彈錯是這樣的

  • first of all, we don't really see it as a mistake.

    首先,我們並不把它當作是錯的

  • The only mistake lies

    除非我不能

  • in that I'm not able to perceive

    聽出另一個人在彈什麼

  • what it is that someone else did.

    這才是真正的失誤

  • Every "mistake" is an opportunity in jazz.

    爵士樂中,每一個"失誤"都是一個機會

  • So it's hard to even describe

    所以要找出一個彈錯的音

  • what a funny note would be.

    並不容易

  • So for example, if I played a color, like we were playing on a palette,

    舉例來說,如果我現在從低音彈到高音,就像我們剛剛隨性彈的那樣

  • that sounded like this ...

    聽起來就像這樣...

  • (Music)

    (音樂)

  • So if Christian played a note -- like play an F.

    要是克力斯帝彈了一個F

  • (Music)

    (音樂)

  • See, these are all right inside of the color palette.

    那個F在我剛剛彈奏的一小段中,聽起來其實還不賴

  • If you played an E.

    要是彈個E

  • See, these all lie right inside

    這個音在我們隨意彈奏的曲子中

  • of this general emotional palette that we were painting.

    聽起來也不賴

  • If you played an F# though,

    要是彈了升F

  • (Dissonance)

    (不協調)

  • to most people's ears, they would perceive that as a mistake.

    大多數人一聽到,都會覺得這個音彈錯了

  • So I'm going to show you, we're going to play just for a second.

    所以,我們現在要彈奏一下

  • And we're going to play on this palette.

    就在這邊彈奏

  • And at some point, Christian will introduce this note.

    同時,克力斯帝也會偶爾彈出這個音

  • And we won't react to it.

    我們不會有所回應

  • He'll introduce it for a second

    他只會彈個一秒

  • and then I'll stop, I'll talk for a second.

    然後我會停下來,然後講一下

  • We'll see what happens when we play with this palette.

    來看看我們這樣彈奏時,會發生什麼事

  • (Music)

    (音樂)

  • So someone could conceptually perceive that as a mistake.

    有人能夠知道那個音彈錯

  • The only way that I would say it was a mistake

    但是,除非我們沒有回應那個音

  • is in that we didn't react to it.

    我才會覺得那個音是錯的

  • It was an opportunity that was missed.

    那就是個我們錯失的機會

  • So it's unpredictable. We'll paint this palette again.

    這完全沒有辦法預料。我們再來彈一次

  • He'll play it. I don't know how we'll react to it, but something will change.

    他會再彈一次,我不知道我們會如何反應,但確定會不一樣就是了

  • We'll all accept his ideas,

    我們會接受他的想法

  • or not.

    但也可能不會

  • (Music)

    (音樂)

  • So you see, he played this note.

    有聽到嗎,他彈了那個音

  • I ended up creating a melody out of it.

    結果,我順著奏了一段旋律

  • The texture changed in the drums this time.

    鼓手所擊的音也改變了

  • It got a little bit more rhythmic, a little bit more intense

    因為我對那個音的反應方式

  • in response to how I responded to it.

    整首曲子變得較有節奏,也較緊湊

  • So there is no mistake.

    因此,沒有所謂的"彈錯"

  • The only mistake is if I'm not aware,

    我覺得,唯一的錯誤

  • if each individual musician is not aware

    是當音樂家沒有察覺

  • and accepting enough of his fellow band member

    且沒有接受團員的想法,因此無法整合他彈出來的音

  • to incorporate the idea and we don't allow for creativity.

    也因為如此,創意便沒有發展空間

  • So jazz, this bandstand is absolutely amazing.

    爵士的表演舞台,相當的精彩

  • It's a very purifying experience.

    是個純淨心靈的經驗

  • And I know that I speak for all of us when I tell you that we don't take it for granted.

    我們每一位團員,都不會認為站在這表演是理所當然

  • We know that to be able to come on the bandstand and play music is a blessing.

    我們知道,能夠站在這演出有多麼幸福

  • So how does this all relate to behavioral finance?

    不過,這和行為經濟學怎麼扯得上關係呢?

  • Well we're jazz musicians,

    唉,我們爵士音樂家

  • so stereotypically we don't have a great relationship to finance.

    所以刻板印象中,我們和錢沒有什麼關係

  • (Laughter)

    (笑聲)

  • Anyway, I just wanted to sort of point out the way that we handle it.

    總之,我只是想說說我們的處理方法

  • And the other dynamic of it

    從另一個行為上來看

  • is that we don't micromanage in jazz.

    我們彈奏爵士時,不會管太多

  • You have some people who do.

    有些人會管很多

  • But what that does

    但是

  • is it actually limits the artistic possibilities.

    那反而限制了藝術上的可能性

  • If I come up and I dictate to the band

    要是我上台來,然後對樂團說

  • that I want to play like this and I want the music to go this way,

    我想要這樣彈,我想要那樣彈

  • and I just jump right in ...

    然後就開始這樣...

  • ready, just play some time.

    準備了

  • One, two, one, two, three, four.

    一、二,一、二、三、四

  • (Music)

    (音樂)

  • It's kind of chaotic because I'm bullying my ideas.

    聽起來很亂,因為我的想法在霸凌別人

  • I'm telling them, "You come with me over this way."

    我告訴他們:「你就和我這樣彈」

  • If I really want the music to go there,

    如果,我真的想樣音樂照著我的方向走

  • the best way for me to do it is to listen.

    最好的方法就是用聽的

  • This is a science of listening.

    這就是聆聽的科學

  • It has far more to do with what I can perceive

    彈奏出好音樂,不只是在於我能彈出什麼

  • than what it is that I can do.

    更重要的是對音樂的聆聽

  • So if I want the music to get to a certain level of intensity,

    如果我要音樂達到某種程度的緊湊感

  • the first step for me is

    我要做的第一件事

  • to be patient, to listen to what's going on

    就是耐心去聽我周圍的音樂

  • and pull from something that's going on around me.

    然後從中得到彈奏的靈感

  • When you do that, you engage and inspire the other musicians

    如此一來,其他團員不僅注意到你,你也給了他們靈感

  • and they give you more, and gradually it builds.

    你所想要的音樂,也就漸漸地成形

  • Watch. One, two, a one, two, three, four.

    注意聽,一二,一、二、三、四

  • (Music)

    (音樂)

  • Totally different experience when I'm pulling ideas.

    這和剛剛相比完全是不同的經驗

  • It's much more organic. It's much more nuanced.

    更有組織,也更協調

  • It's not about bullying my vision or anything like that.

    音樂並不是在於用自己的想法霸凌他人

  • It's about being here in the moment,

    而是在於置身這一刻

  • accepting one another

    接受彼此的想法

  • and allowing creativity to flow.

    也讓創意萌芽發展

  • Thank you.

    謝謝

  • (Applause)

    (掌聲)

Okay, I have no idea what we're going to play.

好吧,我不曉得我們今天要彈什麼曲子

字幕與單字
已審核 字幕已審核

單字即點即查 點擊單字可以查詢單字解釋

A2 初級 中文 TED 彈奏 曲子 爵士 音樂家 掌聲

【TED】史提芬‧哈利斯:演奏台上沒有所謂的彈錯 (Stefon Harris: There are no mistakes on the bandstand)

  • 547 50
    VoiceTube 發佈於 2013 年 04 月 23 日
影片單字