13:12
TEDSalon NY2011

Stefon Harris: There are no mistakes on the bandstand

ステフォン・ハリス 「バンドスタンドではミスなんてない」

Filmed:

ミスって何でしょう?ステフォン・ハリスは、彼のジャズカルテットが即興で奏でる音楽を例に挙げて話し、私たちを意味深い真実へと導いてくれます。つまり、多くの行動が「誤り」と捉えられますが、その唯一の原因は私たちがその「誤り」に上手く対応していないことによるのです。

- Jazz vibraphonist
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio

Okay, I have no idea what we're going to play.
さて 何を演奏しましょうかね?
00:15
I won't be able to tell you what it is until it happens.
実は演奏が始まってみないと分からないのです
00:18
I didn't realize there was going to be a little music before.
ここで演奏するとは思ってもいませんでした
00:21
So I think I'm going to start with what I just heard.
では成り行きにまかせることにします
00:24
(Music)
(音楽)
00:26
(Applause)
(拍手)
06:01
Okay, so first of all,
メンバーをご紹介しましょう
06:10
let's welcome Mr. Jamire Williams on the drums,
ドラムのジャマイア・ウィリアムズ
06:12
(Applause)
(拍手)
06:15
Burniss Travis on the bass,
ベースのバーニス・トラビス
06:18
(Applause)
(拍手)
06:20
and Mr. Christian Sands on the piano.
そしてピアノのクリス・サンズです
06:22
(Applause)
(拍手)
06:25
So the bandstand, as we call it,
「バンドスタンド」と呼んでいますが
06:28
this is an incredible space.
ステージはすごく神聖で
06:30
It is really a sacred space.
素晴らしい空間です
06:32
And one of the things that is really sacred about it
神聖な理由の1つとして
06:34
is that you have no opportunity to think about the future,
未来や過去について考える機会の喪失が
06:36
or the past.
挙げられます
06:39
You really are alive right here in this moment.
今 --まさにこの瞬間-- が大切なのです
06:41
There are so many decisions being made
バンドスタンドに上がるとき
06:43
when you walk on the bandstand.
いくつもの意思決定がされます
06:45
We had no idea what key we were going to play in.
どんな音色を奏でるかは決めていませんでした
06:47
In the middle, we sort of made our way
演奏の途中で私たちは 自分らを
06:50
into a song called "Titi Boom."
『Titi Boom』という曲に導きました
06:52
But that could have happened -- maybe, maybe not.
そんなこともあったり なかったり・・・
06:54
Everyone's listening. We're responding.
皆さんが聴いてくれるのでそれに応えます
06:57
You have no time for projected ideas.
考えている暇などありません
06:59
So the idea of a mistake:
ミスという概念がありますが
07:01
From the perspective of a jazz musician,
ジャズ演奏家の観点からすれば
07:04
it's easier to talk about someone else's mistake.
他の職業のミスはより明白なものです
07:06
So the way I perceive a mistake when I'm on the bandstand --
バンドスタンド上での誤りの受け止め方は
07:11
first of all, we don't really see it as a mistake.
そもそも誤りをミスと捉えないんです
07:14
The only mistake lies
唯一のミスと言えば
07:16
in that I'm not able to perceive
他人の演奏を
07:18
what it is that someone else did.
受け入れられないことです
07:20
Every "mistake" is an opportunity in jazz.
ジャズでは全てのミスがチャンスなので
07:22
So it's hard to even describe
外れた音というものを
07:25
what a funny note would be.
説明することすら困難です
07:27
So for example, if I played a color, like we were playing on a palette,
例えば 私好みで音色を奏でるなら
07:29
that sounded like this ...
こんな感じの音になります
07:32
(Music)
(音楽)
07:34
So if Christian played a note -- like play an F.
クリスが「ファ」の音を叩くと・・・
07:36
(Music)
(音楽)
07:39
See, these are all right inside of the color palette.
ほらね どちらも正しい音色なんです
07:41
If you played an E.
次に「ミ」を叩いてみると・・・
07:44
See, these all lie right inside
感情の中の世界では
07:47
of this general emotional palette that we were painting.
全ての音が正しいものなのです
07:49
If you played an F# though,
ところが「ファ#」をならしてみると・・・
07:51
(Dissonance)
(不協和音)
07:53
to most people's ears, they would perceive that as a mistake.
大半の人はこの音をミスと捉えます
07:57
So I'm going to show you, we're going to play just for a second.
それでは少し実験してみましょう
08:00
And we're going to play on this palette.
演奏途中でクリスが
08:02
And at some point, Christian will introduce this note.
先ほどの外れた音を入れます
08:04
And we won't react to it.
ですが私たちは反応しません
08:06
He'll introduce it for a second
彼が耳障りな音を入れたら
08:08
and then I'll stop, I'll talk for a second.
演奏を中止して 少し話をしますね
08:10
We'll see what happens when we play with this palette.
ではどうなるか見てみましょう
08:12
(Music)
(音楽)
08:14
So someone could conceptually perceive that as a mistake.
今の一節を概念的にミスだと捉えた方もいるでしょう
08:39
The only way that I would say it was a mistake
唯一ミスと捉えて差支えない点は
08:43
is in that we didn't react to it.
反応しなかったということです
08:45
It was an opportunity that was missed.
チャンスを逃してしまったのです
08:47
So it's unpredictable. We'll paint this palette again.
チャンスは突然巡ってきます もう一度演奏しますが
08:49
He'll play it. I don't know how we'll react to it, but something will change.
今度は不協和音に反応したいと思います
08:52
We'll all accept his ideas,
みんなでクリスの考えを受け入れます
08:55
or not.
できればの話ですけど
08:57
(Music)
(音楽)
08:59
So you see, he played this note.
クリスの音を聞いて
10:08
I ended up creating a melody out of it.
そこからメロディを創りました
10:10
The texture changed in the drums this time.
ドラムの響きは変わっていました
10:12
It got a little bit more rhythmic, a little bit more intense
あの音に反応したことで リズム感が増して
10:14
in response to how I responded to it.
少しばかり情熱的な音楽になりました
10:17
So there is no mistake.
演奏自体にミスはありません
10:19
The only mistake is if I'm not aware,
唯一のミスと言えば
10:21
if each individual musician is not aware
私を含め 音楽家の一人ひとりが
10:23
and accepting enough of his fellow band member
メンバーの考えを受け入れず
10:25
to incorporate the idea and we don't allow for creativity.
創造性を認めないことです
10:29
So jazz, this bandstand is absolutely amazing.
ジャズやバンドスタンドは本当に素晴らしいです
10:32
It's a very purifying experience.
とてもクリアな経験なんです
10:36
And I know that I speak for all of us when I tell you that we don't take it for granted.
とても特別な経験だと言わせてください
10:38
We know that to be able to come on the bandstand and play music is a blessing.
バンドスタンドで演奏できて本当に幸せです
10:41
So how does this all relate to behavioral finance?
さて これが行動ファイナンスとどう関係するのでしょうか?
10:45
Well we're jazz musicians,
まあ 私たちはジャズ音楽家なので
10:48
so stereotypically we don't have a great relationship to finance.
お察しの通り 全然関係ないですよね
10:50
(Laughter)
(笑)
10:52
Anyway, I just wanted to sort of point out the way that we handle it.
とにかく ミスの対処法について指摘したかったんです
10:55
And the other dynamic of it
もう1つのポイントは
10:58
is that we don't micromanage in jazz.
ジャズでは細かい管理はしませんが 社会には
11:00
You have some people who do.
そういうことをする人もいます
11:03
But what that does
しかし それが原因となって
11:05
is it actually limits the artistic possibilities.
芸術的な可能性が制限されています
11:07
If I come up and I dictate to the band
例えば もし私がバンドの主導権を握り
11:09
that I want to play like this and I want the music to go this way,
「オレはこうしたい!音楽はこうだ!
11:12
and I just jump right in ...
勢いよく行くぞ!」といくと・・・
11:14
ready, just play some time.
準備はいいかい
11:16
One, two, one, two, three, four.
いち にの さん はい
11:18
(Music)
(音楽)
11:20
It's kind of chaotic because I'm bullying my ideas.
考えを押しつけたがために
11:32
I'm telling them, "You come with me over this way."
混乱を招いてしまった良い例です
11:34
If I really want the music to go there,
音楽を本当に奏でたいとき
11:36
the best way for me to do it is to listen.
私は聴くようにしています
11:38
This is a science of listening.
これは「聴くことの力」です
11:40
It has far more to do with what I can perceive
周りから学べることのほうが
11:42
than what it is that I can do.
私ができることより 遥かに多いんです
11:44
So if I want the music to get to a certain level of intensity,
だから私が情熱的な音楽を作ろうと思ったら
11:46
the first step for me is
まず最初にやることは
11:49
to be patient, to listen to what's going on
忍耐強く構えて 周りに耳を傾け
11:51
and pull from something that's going on around me.
そこから何かを引き出そうとします すると
11:53
When you do that, you engage and inspire the other musicians
メンバーは奮い立ち さらなる力を貸してくれて
11:56
and they give you more, and gradually it builds.
徐々に音楽が完成していきます
11:59
Watch. One, two, a one, two, three, four.
では行きますよ イチ ニノ サン ハイ
12:01
(Music)
(音楽)
12:04
Totally different experience when I'm pulling ideas.
周囲との協調によって より有機的でより繊細な
12:44
It's much more organic. It's much more nuanced.
全く違う経験が生まれました
12:47
It's not about bullying my vision or anything like that.
自分の空想を押し付けてなどいません
12:49
It's about being here in the moment,
そうではなく 今まさにこの場所で
12:51
accepting one another
お互いを受け入れ
12:53
and allowing creativity to flow.
創造性を解き放つのです
12:55
Thank you.
ありがとうございました
12:57
(Applause)
(拍手)
12:59
Translated by Naoki Funahashi
Reviewed by Takahiro Shimpo

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About the Speaker:

Stefon Harris - Jazz vibraphonist
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration.

Why you should listen

Stefon Harris' passionate artistry, energetic stage presence, and astonishing virtuosity have propelled him into the forefront of hte current jazz scene. Widely recognized and lauded by both his peers and jazz critics, Harris is committed to exploring the rich potential of jazz composition and blazing trails on the vibraphone.

His TEDTalk was performed with Jamire Williams on drums, Burniss Travis on bass, and Christian Sands on piano. 

More profile about the speaker
Stefon Harris | Speaker | TED.com