Name: 【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)
Uploaded: 2013-04-23T14:56:08.000Z
Duration: 13 min 12 s

現在進行式

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

to 不定詞

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

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

讓我們歡迎鼓手賈麥爾‧威廉思

And one of the things that is really sacred about it

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

You really are alive right here in this moment.

你人在這裡，確實地活在此時此刻

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

演奏到一半的時候，我們好像還不經意地彈了一首

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

那樣的事情可能發生，也可能不會

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

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

Every "mistake" is an opportunity in jazz.

爵士樂中，每一個"失誤"都是一個機會

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

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

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

這個音在我們隨意彈奏的曲子中

of this general emotional palette that we were painting.

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.

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

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

So someone could conceptually perceive that as a mistake.

The only way that I would say it was a mistake

但是，除非我們沒有回應那個音

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

The texture changed in the drums this time.

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

整首曲子變得較有節奏，也較緊湊

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.

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？

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

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

is it actually limits the artistic possibilities.

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

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」