TEDxSMU
José Bowen: Beethoven the businessman
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The revolution that made music more marketable, more personal and easier to pirate began ... at the dawn of the nineteenth-century. At TEDxSMU, José Bowen outlines how new printing technology and an improved piano gave rise to the first music industry and influenced a generation of composers.
(Filmed at TEDxSMU.)
José Bowen - Professor of music
José Bowen is an accomplished musician and teacher who explores how technology has shaped the history of music. Full bio
José Bowen is an accomplished musician and teacher who explores how technology has shaped the history of music. Full bio
Double-click the English transcript below to play the video.
00:34
This was the first title
I thought of for this talk,
I thought of for this talk,
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我最先想到的演講標題是
00:38
"Beethoven as Bill Gates."
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「貝多芬像比爾蓋茨」。
00:39
Does that make sense?
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那合理嗎？
00:42
Maybe not. OK, so think about that.
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也許不。好吧，想想看。
00:44
Being an educator,
I am going to tell you the story,
I am going to tell you the story,
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身為教育工作者，
我會告訴你這個故事，
我會告訴你這個故事，
00:47
and then you'll figure it out
for yourselves.
for yourselves.
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然後你自己判斷。
00:51
So the second thought I had
was that I would tell the story
was that I would tell the story
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我的第二個想法是講述音樂發行史，
00:55
of the history of music delivery,
literally from the beginning,
literally from the beginning,
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按照字面從頭開始，
00:59
from pounding rocks to pounding rock.
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從擊石奏樂到搖滾樂。
01:02
The good news about this is
the first 10,000 years just sailed by.
the first 10,000 years just sailed by.
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好消息是頭一萬年平順地過去了。
01:08
So for 10,000 years,
if you want to make music,
if you want to make music,
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一萬年來，如果你想弄點音樂，
01:12
you literally pick up rocks, later
instruments, those sorts of things.
instruments, those sorts of things.
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你真的會拿石頭，
和後來拿樂器之類的東西。
和後來拿樂器之類的東西。
01:16
And this goes on for a very long time.
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這持續了很長的時間。
01:19
Gradually in the West, mostly
we start to get a performing class,
we start to get a performing class,
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在西方漸漸開始有了專門表演的人，
01:22
people who were experts,
who were really good at pounding rocks.
who were really good at pounding rocks.
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主要是那些擅長敲擊石頭的專家。
01:26
So, by the 18th century,
we're still basically doing this.
we're still basically doing this.
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到 18 世紀基本上仍然如此。
01:29
We have a class of experts, professionals,
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我們有一類專家、專業人員，
01:32
who play very expensive instruments,
for the most part,
for the most part,
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他們大都演奏非常昂貴的樂器，
01:35
things like the organ,
complicated instruments,
complicated instruments,
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像風琴、複雜的樂器等。
01:37
and if you wanted to hear music
in the 18th century,
in the 18th century,
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如果你在 18 世紀想聽音樂，
01:40
it was live.
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是現場演奏的，
01:41
You had to go to a concert.
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你必須去音樂會。
01:43
You had to go to church,
you had to go to a civic event,
you had to go to a civic event,
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你必須去教堂，去市民的活動，
必須聽人現場演奏。
01:46
you had to go hear somebody
making music live.
making music live.
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01:49
So, music always involved
social interaction.
social interaction.
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因此音樂總是涉及社交活動。
01:51
There were no headphones you could put on,
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沒有耳機可以戴上，
01:53
there was no iPhone,
there was no record player.
there was no record player.
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沒有 iPhone，沒有唱機。
如果你想聽音樂，就必須離開屋子。
01:55
If you wanted to hear music,
you had to get out of the house.
you had to get out of the house.
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01:59
There's really, basically,
no music in your house.
no music in your house.
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基本上家裡沒音樂。
02:02
This goes on through the 18th century
from the beginning,
from the beginning,
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這從一開始一直持續到 18 世紀，
02:05
and then we have ...
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然後我們有了
02:07
our first disruption.
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第一個突破。
02:09
These two things actually happened
together, these two disruptions.
together, these two disruptions.
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這兩個突破實際上是一起發生的。
02:12
We get the piano, right?
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我們有了鋼琴，
02:15
The piano was a new technology
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那時鋼琴是一項新的技術，
02:17
that really starts to happen
in the 18th century,
in the 18th century,
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一開始發生在 18 世紀，
02:21
and then it becomes something
that you could mass-produce cheaply.
that you could mass-produce cheaply.
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然後變成能以低成本大規模地生產。
02:24
So you can now have an instrument
that's not too expensive,
that's not too expensive,
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因此你能擁有這種不太昂貴的樂器，
02:27
that everyone can have one,
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每個人都能擁有一個，
02:29
that you can have at home.
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可以在家裡用。
02:30
So this allows for a kind of disruption,
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所以這導致一種突破，
02:33
but it wouldn't have happened
if the second disruption hadn't happened
if the second disruption hadn't happened
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但如果第二個突破沒有同時發生
就不會發生這種情況，
02:36
at the same time,
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02:37
which is that somebody figured out
how to do cheap music printing.
how to do cheap music printing.
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第二個突破是有人想出
如何便宜地印刷樂譜。
如何便宜地印刷樂譜。
02:40
Remember Gutenberg
and the other kind of printing?
and the other kind of printing?
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記得古騰堡和另一類型的印刷嗎？
（註：首位歐洲活字印刷術發明者）
（註：首位歐洲活字印刷術發明者）
02:43
Music is a little more complicated.
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音樂稍微複雜些，
花了稍微多一點時間才弄清楚
02:45
It took a little longer to figure out:
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02:47
How do I create a cheap way
to distribute sheet music?
to distribute sheet music?
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如何用便宜的方法發行樂譜。
02:50
In London, at the time
of the American Revolution,
of the American Revolution,
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在美國革命時期的倫敦
（註：1976 年左右）
（註：1976 年左右）
02:52
there are 12 music shops.
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有 12 家樂行。
02:54
By 1800, there are 30.
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到 1800 年，有 30 家。
02:57
By 1820, there are 150.
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到 1820 年，有 150 家。
03:02
So the internet wasn't
the first time this happened,
the first time this happened,
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所以，互聯網不是第一個突破，
03:05
because think about what happens
when, all of a sudden,
when, all of a sudden,
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因為試想下面的情況：
突然之間，從「如果想聽音樂，
03:08
you go from "If I want to hear music,
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03:11
I've got to go hear Bach,
I've got to go hear Mozart."
I've got to go hear Mozart."
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就必須去聽巴哈、莫扎特。」
意思是去聽真正的莫扎特演奏。
03:13
That meant you had
to actually go hear Mozart.
to actually go hear Mozart.
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03:17
You didn't by a CD of Mozart,
you didn't download Mozart.
you didn't download Mozart.
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沒有莫扎特的 CD 可買或下載，
03:20
You couldn't even buy Mozart sheet music,
at least not easily or cheaply.
at least not easily or cheaply.
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甚至沒有莫扎特的樂譜能買，
至少不容易也不便宜。
至少不容易也不便宜。
03:24
But if you wanted to hear Mozart or Bach,
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如果你想聽莫扎特或巴哈，
就必須去德國聽他們演奏。
03:26
you had to go to Germany and go hear them.
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03:29
But that's not true for Beethoven.
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但貝多芬並非如此。
03:31
And Beethoven figures out that,
in fact, there's a new market.
in fact, there's a new market.
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貝多芬想通了
實際上還有個新的市場。
實際上還有個新的市場。
03:35
Beethoven is an entrepreneur,
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貝多芬是個企業家，
03:37
not unlike our other friend, Bill Gates.
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與我們的另一位朋友
比爾蓋茨沒什麼不同。
比爾蓋茨沒什麼不同。
他是個企業家，想到：
03:39
He's an entrepreneur that figures out,
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「嘿，我不必真正去倫敦。
03:41
"Hey, I don't have
to actually go to London.
to actually go to London.
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03:43
I can actually just sell sheet music.
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我其實可以賣樂譜。
03:46
And it can be printed
and mass-distributed,
and mass-distributed,
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可以大量印刷和發行樂譜，
03:48
and I will be famous everywhere,
and everybody else will play my music."
and everybody else will play my music."
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我會處處聞名，
其他人會演奏我的音樂。」
其他人會演奏我的音樂。」
那改變了大家的音樂體驗。
03:52
So that changes the experience
of music for everybody.
of music for everybody.
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03:54
It changes the variety, it
changes the global pyramid,
changes the global pyramid,
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它改變了音樂的種類，
改變全球音樂的金字塔，
改變全球音樂的金字塔，
改變了各式各樣的東西。
03:57
it changes all sorts of things.
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03:59
It creates a new class of musicians,
of composers and performers --
of composers and performers --
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它創造了新的音樂家階層，
作曲家和表演者分工了。
04:03
there's a division of labor.
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如果你雇巴哈為你的婚禮演奏，
04:04
If you hire Bach to play for your wedding,
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04:07
guess who shows up?
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猜猜誰會出現呢？
04:09
Bach!
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巴哈！
04:10
(Laughter)
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（笑聲）
04:11
That's what he does for a living, right?
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他靠這維生，對吧？
他無法擴展業務。
04:13
He has no way to expand his business.
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04:16
But Beethoven does.
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但是貝多芬能。
04:18
Then this happens again.
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然後又突破了，
04:19
It happens 100 years later, so
you're starting to see a theme.
you're starting to see a theme.
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發生在百年之後，
看得出來主題浮現了，
看得出來主題浮現了，
04:22
By the turn of the century,
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「世紀之交」是音樂發行的
有趣時刻，對吧？
有趣時刻，對吧？
04:24
it's an interesting time
for music delivery;
for music delivery;
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一百年過去，我們有了
04:26
100 years later, we get the record
player, the gramophone, the player piano.
player, the gramophone, the player piano.
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唱機、留聲機、鋼琴演奏家。
原先你買得到拉赫瑪尼諾夫的樂譜，
04:29
Now you could buy
Rachmaninoff sheet music,
Rachmaninoff sheet music,
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04:32
but if you wanted to hear Rachmaninoff,
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但如果你想聽拉赫曼尼諾夫演奏，
04:34
you had to actually go
to the concert hall.
to the concert hall.
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就必須真的去音樂廳聽他演奏；
04:36
Not anymore.
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不必如此了，現在你買得到
拉赫瑪尼諾夫的唱片，
拉赫瑪尼諾夫的唱片，
04:37
Now you can buy a record of Rachmaninoff,
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或者買個自動演奏鋼琴，
04:39
or you can buy a player piano
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04:41
and a roll that fits into another kind
of recording device.
of recording device.
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和與鋼琴、琴譜相符的打孔紙卷。
後來有了收音機。
04:44
And later, the radio.
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04:45
So think about this:
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試想：你是德州的一支樂隊，
04:46
you're a band in Texas;
you're Doc Ross in Texas,
you're Doc Ross in Texas,
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你是德州的歌手多克托·羅斯，
04:51
and you've got the Texas big band
market, you've got it nailed.
market, you've got it nailed.
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你有德州廣大的樂隊市場，
你掌握了它。
04:54
And all of a sudden,
there's this new thing called "radio."
there's this new thing called "radio."
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突然間有了「收音機」這個新東西，
04:57
And now everybody can hear Count Basie
and Duke Ellington and Benny Goodman.
and Duke Ellington and Benny Goodman.
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每個人都聽得到貝西伯爵、
艾靈頓公爵，和班尼 · 古德曼。
05:01
Man, the competition just sucks now.
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競爭真是糟透了。
05:04
All of a sudden, the competition
has gone global,
has gone global,
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突然之間，競爭已走向全球，
05:07
just like it does a hundred years later,
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就像一百年後的那樣，
05:09
with the iPod, the internet
and digital files and Garage Band,
and digital files and Garage Band,
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有 iPod、互聯網、數位檔案
和 GarageBand，
和 GarageBand，
05:13
that do all of these things
all over again.
all over again.
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這事又重來一遍。
05:17
So now, maybe we can talk
about these two guys.
about these two guys.
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也許現在我們可以談談這兩個人。
05:21
First of all, both of these guys
are entrepreneurs.
are entrepreneurs.
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首先，這兩個人都是企業家。
05:25
But second of all, both of these guys
are software designers.
are software designers.
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其次，這兩個人都是軟體設計師。
05:29
That's what Beethoven does.
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貝多芬寫軟體。
05:31
He writes software that runs
on that piece of hardware over there.
on that piece of hardware over there.
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他寫在那硬體（鋼琴）上跑的軟體。
05:34
(Laughter)
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（笑聲）
05:35
That's a piece of hardware.
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那（鋼琴）是個硬體。
05:37
That's a device that you can use
if you have my piece of paper.
if you have my piece of paper.
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如果你有我的紙（樂譜），
就可以使用那硬體（鋼琴）。
就可以使用那硬體（鋼琴）。
如果你有樂譜，樂譜好聽嗎？
05:40
If you have sheet music,
does it sound good?
does it sound good?
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沒聲音，那只是一張紙而已。
05:42
No, it's a piece of paper.
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05:44
It's like those floppy disks;
they weren't very useful.
they weren't very useful.
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就像磁片一樣，不太有用──
05:47
You can use them as coasters, I guess.
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我想你可以用來作為杯墊──
05:49
But they're not very useful on their own.
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樂譜和磁片一樣，
單獨存在時不怎麼有用。
單獨存在時不怎麼有用。
所以貝多芬和比爾蓋茨
都是軟體設計師。
都是軟體設計師。
05:51
So both Beethoven and Bill Gates
are software designers.
are software designers.
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05:54
What's interesting is that
they also both live at a time
they also both live at a time
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有趣的是他們都生在
硬體快速變化的時代。
05:58
where the hardware
is changing very quickly.
is changing very quickly.
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06:01
Those of you who are
old enough to remember,
old enough to remember,
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那些年紀夠大的人記得
06:03
go back to the '90s, go
back to Windows whatever,
back to Windows whatever,
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回到 90 年代，
回到微軟視窗的年代，
回到微軟視窗的年代，
06:07
and remember your joy
and your love of Bill Gates,
and your love of Bill Gates,
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記住你對比爾蓋茨的喜愛，
06:10
as every time a new
software package came out,
software package came out,
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因為每回推出新的視窗軟體，
你就必須升級新電腦。
06:14
you had to get a new computer.
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猜猜看怎麼著？
06:17
So, guess what?
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當貝多芬開始譜曲時，
06:18
When Beethoven started writing music,
he had this instrument up on top,
he had this instrument up on top,
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他的鋼琴有五個八度。
06:22
with five octaves.
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06:23
This one's bigger, it's got more pedals,
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這個更大，有更多的踏板，
06:26
it's louder, it can do more stuff.
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聲音更響亮，可以做更多。
06:28
When Beethoven starts off,
he doesn't have a piano that can do this.
he doesn't have a piano that can do this.
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最初貝多芬剛開始譜曲時
並沒有這麼多個八度的鋼琴。
並沒有這麼多個八度的鋼琴。
06:31
He actually just cannot do this.
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實際上他無法、
06:33
He can't go -- (Musical chords)
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他不能──（彈和弦）
06:35
Can't do that.
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不能那樣彈和弦。
06:37
So in 1803, a French piano maker --
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在 1803 年，一個法國鋼琴製造商──
06:41
alright, think about how smart this is:
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想想這多麼聰明：
06:43
If you're a piano maker,
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如果你製造鋼琴，
06:45
into whose hands
do you want to get that piano?
do you want to get that piano?
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你想把那架鋼琴給誰彈？
06:50
Composers.
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作曲家。
06:51
Artists who will use the technology
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給用這技術的藝術家們，
06:53
and make everybody else
have to adopt your technology.
have to adopt your technology.
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讓其他人不得不採用你的技術。
06:55
It's like sending Bill Gates
your fastest, latest computer,
your fastest, latest computer,
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這就像把你最快、最新的電腦
送給比爾蓋茨一樣，
送給比爾蓋茨一樣，
06:59
because you know he'll use up
all the memory.
all the memory.
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因為你知道他會用盡
所有的記憶體容量。
所有的記憶體容量。
07:01
(Laughter)
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（笑聲）
07:02
So in 1803, Érard sends
Beethoven a new piano.
Beethoven a new piano.
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所以在 1803 年，耶拉爾
送一架新鋼琴給貝多芬。
送一架新鋼琴給貝多芬。
07:06
And it has more notes.
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它的琴鍵音符更多，
07:09
And it can do that.
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能那樣彈和弦。
07:11
So the first thing Beethoven does is,
he writes a piece that can do that.
he writes a piece that can do that.
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拿到鋼琴後，貝多芬先譜寫
能夠那樣彈和弦的曲子。
能夠那樣彈和弦的曲子。
07:14
If you've got a German or a Viennese piano
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如果你的鋼琴是德國、維也納
07:17
or a British piano,
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或英國的，就沒轍了。
07:19
it can't do that.
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07:21
So what do you do?
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那你會怎麼做？
07:23
You've gone to the music store.
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你已從樂行
07:26
And you've bought the latest
Beethoven piano sonata,
Beethoven piano sonata,
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買了最新的貝多芬
鋼琴奏鳴曲的樂譜帶回家，
鋼琴奏鳴曲的樂譜帶回家，
07:29
and you take it home,
and you've got a five-octave piano
and you've got a five-octave piano
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你家裏已經有五個八度的鋼琴，
07:32
that was the brand-spanking-new,
latest technology last year.
latest technology last year.
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那是去年最新技術的嶄新品牌。
07:35
You start playing that new Beethoven
piano sonata, and what happens?
piano sonata, and what happens?
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你開始彈奏新的貝多芬
鋼琴奏鳴曲，會怎樣？
鋼琴奏鳴曲，會怎樣？
07:38
Not enough notes!
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琴鍵不夠用了！
07:40
You run out of room.
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你超出鍵盤的範圍。
07:43
So, in fact, Beethoven has
the same relationship with his audience
the same relationship with his audience
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所以事實上，
貝多芬與觀眾的關係
和比爾蓋茨的一樣。
和比爾蓋茨的一樣。
07:47
that Bill Gates does.
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他製造軟體，
07:48
He's a software producer,
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07:50
and he has to deal with the hardware.
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必須處理對應的硬體。
07:53
And what's interesting about this
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有趣的是貝多芬實際上比
07:55
is that Beethoven was actually
smarter than Bill Gates.
smarter than Bill Gates.
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比爾蓋茨聰明。
07:58
So when Beethoven gets
his new Érard piano,
his new Érard piano,
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當貝多芬得到新的耶拉爾鋼琴時，
08:01
he's writing his third piano concerto,
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他立即寫第三鋼琴協奏曲，
08:03
he goes and he gives a concert,
and he and uses all those extra notes.
and he and uses all those extra notes.
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他辦音樂會，用了所有的額外音符。
08:07
But what does he do when he goes
and gives the concert?
and gives the concert?
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他去外地舉行音樂會時必須怎樣呢？
他必須自帶鋼琴，
08:10
He has to take the piano with him,
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08:11
because it's the only piano
he has in Vienna
he has in Vienna
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因為它是維也納唯一
有那些額外琴鍵的鋼琴。
有那些額外琴鍵的鋼琴。
08:13
that has those extra notes.
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他在鋼琴上演奏協奏曲，很棒。
08:15
So he plays the concerto
on the piano. It's great.
on the piano. It's great.
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但他意識到，「哦，且慢，
不是每個人都有最新的鋼琴。」
不是每個人都有最新的鋼琴。」
08:17
But he realizes, "Oh, wait. Not everybody
has one of these latest things.
has one of these latest things.
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08:21
So he publishes piano sonatas --
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所以當他出版鋼琴奏鳴曲時，
08:24
He waits; he delays:
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他等待，他延遲，
08:25
for the next 10 years, he still
publishes piano sonatas
publishes piano sonatas
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在接下來的十年裡，
他仍然發行不使用
額外琴鍵的鋼琴奏鳴曲。
額外琴鍵的鋼琴奏鳴曲。
08:28
that don't use the extra notes.
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實際上他等待，因為 ──
08:30
He actually waits, because --
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08:31
This idea of Beethoven?
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人們對貝多芬的想法，
08:33
Everything you know
about Beethoven -- basically wrong.
about Beethoven -- basically wrong.
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你對貝多芬的一切所知
基本上是錯誤的。
基本上是錯誤的。
08:35
Beethoven was a very clever entrepreneur.
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貝多芬是個非常聰明的企業家，
08:38
So the music he wrote
for the popular market --
for the popular market --
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所以他為流行音樂市場寫的音樂──
不是他自己彈奏的作品，
08:40
not the pieces he was going to play
himself, but the piano sonatas --
himself, but the piano sonatas --
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而是上市的鋼琴奏鳴曲樂譜──
他限制用到的鍵盤數目，
08:43
he limits himself to the amount of keys
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08:46
that you have at home
in some part of Southern Italy,
in some part of Southern Italy,
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讓你在像是意大利南部居家這些
08:50
where you have last year's piano.
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有去年新型鋼琴的地方也可以彈奏。
08:53
So what are the effects of these
disruptions in music technology?
disruptions in music technology?
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那麼，音樂技術的突破有什麼影響？
08:58
How do composers, how do people respond?
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作曲家、人們如何回應？
09:00
We've had three of these things,
and they really all worked the same way.
and they really all worked the same way.
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我們已有三件這樣的突破，
他們作用的方式類似。
他們作用的方式類似。
09:04
We started off with printing
and the piano.
and the piano.
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我們從印刷和鋼琴開始。
09:06
The very first thing that happens
is: it redefines the product.
is: it redefines the product.
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發生的第一件事是重新定義產品。
09:10
So the product becomes sheet music,
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產品變成了樂譜，
09:13
becomes a piece of paper
that you can then take home.
that you can then take home.
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變成紙張，你可以帶回家。
09:16
In the 20th century, it becomes a record,
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到了 20 世紀，它成為唱片，
09:18
something that you then take home.
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你能帶回家。
09:20
In the 21st century,
it becomes a digital file.
it becomes a digital file.
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在 21 世紀，它變成了數位檔案。
產品的性質變了。
09:22
The nature of the product changes.
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1851
09:25
Second, there's a division of labor.
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其次是分工。
09:27
If you want to listen to Bach,
you've got to go listen to Bach;
you've got to go listen to Bach;
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如果你想聽巴哈
就必須去聽現場的巴哈;
就必須去聽現場的巴哈;
09:30
there's no other way to do this.
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沒有其他辦法。
09:32
In the 19th century, we've got performers,
and we've got composers,
and we've got composers,
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在 19 世紀，我們有表演者和作曲家，
做不同事情的人。
09:37
people who do different things.
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現在有能夠操縱音樂的聽眾，
09:38
We have listeners who can now
manipulate music like you just saw.
manipulate music like you just saw.
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3353
09:43
It changes expectations of quality.
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改變了對質量的期望。
09:44
Once everybody's heard
Count Basie and Benny Goodman,
Count Basie and Benny Goodman,
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一旦所有人都聽得到
貝西伯爵、班尼 · 古德曼，
貝西伯爵、班尼 · 古德曼，
09:47
maybe you're not quite so happy
with your local band as much anymore.
with your local band as much anymore.
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或許對當地的樂隊
就不再那麼滿意了。
就不再那麼滿意了。
09:51
You've now heard ... -- "I want to go
listen to Benny Goodman some more."
listen to Benny Goodman some more."
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你會聽到「我想再聽一遍
班尼 · 古德曼」這樣的話。
班尼 · 古德曼」這樣的話。
現在有了全球的市場，
09:54
You have now a global market.
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09:56
You can hear things
that you didn't use to hear.
that you didn't use to hear.
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你會聽到以前沒聽過的。
10:00
Every time this happens,
we take away some social interaction.
we take away some social interaction.
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每次發生這種情況時，
社交互動就又少了些。
社交互動就又少了些。
10:04
With Beethoven, you can now
play Beethoven at home.
play Beethoven at home.
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有貝多芬的樂譜，
你可以在家彈奏貝多芬的曲子，
你可以在家彈奏貝多芬的曲子，
10:06
You can't play Mozart at home.
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你不能在家彈奏莫扎特。
10:09
But with Beethoven, you can buy
the sheet music, you can go home,
the sheet music, you can go home,
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3094
你可以買貝多芬的樂譜，
回家，關上門，彈鋼琴。
10:12
you can close the door and play the piano.
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2038
只有你在那裡。
10:14
And only you are there.
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1159
10:15
Now you have headphones
that do the same thing.
that do the same thing.
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2218
現在有了耳機，可做同樣的事。
隨著每一次突破，
10:17
With each of these disruptions,
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會改變社交互動的數量。
10:19
it changes the amount
of social interaction.
of social interaction.
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2083
每次都是新的個性化體驗。
10:21
It's a new personalized
experience each time.
experience each time.
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我能按照我想要的方式演奏貝多芬。
10:24
I can play Beethoven the way I want to.
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我可以快彈、可以慢彈，
10:26
I can play it faster,
I can play it slower.
I can play it slower.
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2079
現在真的可以個人化我的體驗。
10:28
I can actually personalize
the experience now.
the experience now.
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2407
消費者的選擇更多，市場變得更大。
10:31
There's more consumer choice,
the marketplace gets bigger.
the marketplace gets bigger.
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2762
樂行銷售的唱片數量增加。
10:34
The number of titles on sale
in those music stores goes up.
in those music stores goes up.
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10:38
But there's also less choice,
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1410
但有些選擇變少了，
因為在全球金字塔中，
你不總能知道自己想要什麼。
你不總能知道自己想要什麼。
10:40
because in a global pyramid,
you can't always tell what you want.
you can't always tell what you want.
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有那麼多選擇，你如何選？
10:43
There's so much choice out there.
How do you pick?
How do you pick?
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10:45
And so marketing starts to come in,
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612568
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所以開始有了營銷，
「這個月是哪個口味？」
10:47
and "Who is the flavor of the month?"
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10:49
There's one more thing
that's not on the list:
that's not on the list:
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還有不在名單上的一件事：
10:51
piracy.
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盜版。
10:53
One of Haydn and Chopin's biggest worries
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620678
3314
海頓和蕭邦最擔憂之一
10:57
is that people were going
to write fake Chopin
to write fake Chopin
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是人們仿冒蕭邦譜曲，
並且放上「蕭邦」兩字。
11:00
and put "Chopin" on it.
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11:01
Do you think Chopin would have been
comforted by the fact,
comforted by the fact,
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628854
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你認為蕭邦對這想法會感到寬慰嗎：
11:04
"Hey, 20 percent of the people
who buy fake Chopin
who buy fake Chopin
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2377
「嘿，20% 買仿冒蕭邦曲子的人
11:07
are more likely to go buy real Chopin"?
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634042
2081
更可能去購買真正的蕭邦曲子」？
11:09
I mean -- I don't know.
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會這樣嗎？
11:10
(Laughter)
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1610
（笑聲）
11:12
But Chopin, another clever entrepreneur --
you know what he does?
you know what he does?
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你可知道另一位
聰明的企業家蕭邦怎麼做？
聰明的企業家蕭邦怎麼做？
11:15
He publishes his music in Italy,
France, Germany and England
France, Germany and England
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他在意大利、法國、德國
和英國同一天出版樂曲，
和英國同一天出版樂曲，
11:18
on the same day,
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1160
因為當時沒有國際版權，
11:19
because there's no
international copyright,
international copyright,
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646476
2022
他必須在同一天發布所有內容，
11:21
so he's got to have everything
published on the same day.
published on the same day.
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648522
2708
而且各個國家發行的版本都不一樣。
11:24
And he puts differences in every country.
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651254
1980
所以如果你彈奏蕭邦，
11:26
So if you're playing Chopin,
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1446
不同國家的版本
被故意弄成有所不同，
被故意弄成有所不同，
11:27
the additions from different countries
are different on purpose,
are different on purpose,
248
654728
3043
11:30
because he wanted to be able
to track who was a pirate.
to track who was a pirate.
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657795
3106
因為他想找出誰盜版。
11:33
So, this wasn't something
that Sony thought of.
that Sony thought of.
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2625
所以，防盜版不是索尼先想到的。
11:36
So, the question is ...
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1885
問題是......
11:39
This new technology,
252
666165
2360
新技術
11:41
it makes more choice for more people,
it makes it more global,
it makes it more global,
253
668549
2920
提供更多人更多選擇，更加全球化，
11:44
but it also allows more piracy.
254
671493
2617
但也導致更多的盜版，
11:47
It also allows for people
to have a marketing filter.
to have a marketing filter.
255
674134
4273
也讓人有了營銷的過濾器。
11:51
They have some way to interact
that's not always direct.
that's not always direct.
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678431
4225
他們總有些不直接的互動。
11:55
So the next time somebody says, you know,
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682680
2767
所以，下一次有人說：
11:58
"Nothing like the internet ever happened."
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685471
2198
「互聯網之類的東西乃前所未有。」
12:01
Well, it's true, but these kinds
of disruptions in music technology
of disruptions in music technology
259
688202
4439
嗯，的確如此，
但是這種音樂技術的突破
過去已經發生過，
過去已經發生過，
12:05
have happened before.
260
692665
1598
12:07
And the model for these disruptions
is the same as we see
is the same as we see
261
694287
2970
這些突破的模式
與我們看到的其他商業模式相同，
12:10
in other kinds of businesses.
262
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1450
12:11
It changes the nature of the product.
263
698755
2450
改變了產品的性質。
12:14
So if you're in book publishing,
264
701229
2302
所以如果你出版圖書，
12:16
you thought you were in book publishing
because of these things called books.
because of these things called books.
265
703555
4068
你以為你出版圖書
因為這些東西叫做書，
因為這些東西叫做書，
12:20
Well, you can still sell
novels without books.
novels without books.
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707647
2327
但你在沒有書本的情況下
仍然可以賣小說。
仍然可以賣小說。
12:22
You can still be in the music business
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709998
1930
即使你不在唱片行業
12:24
even though you're not
in the record business.
in the record business.
268
711952
2283
你仍然可以從事音樂行業。
12:27
You were selling records
only because that was the technology
only because that was the technology
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714259
2896
你賣唱片
只因為那是你繼承的技術。
12:30
that you inherited.
270
717179
1572
12:31
Newspaper business: dead.
271
718775
1893
雖然報業死了，
12:33
But journalism isn't dead.
272
720692
1605
但新聞業沒死。
12:35
And finally, schools.
273
722321
1748
最後是學校。
12:37
School is the next big horizon,
274
724779
1949
學校是下一個大視野，
12:39
because what were we in the business of?
275
726752
1926
因為我們在從事什麼行業呢？
12:41
Schools used to be like buying
gas or buying food;
gas or buying food;
276
728702
3293
以前學校就像買汽油或買食物一樣，
12:45
they had to have local entry
points all over the place.
points all over the place.
277
732019
3278
必須在當地有銷售點。
12:48
But now, with the internet, we have
a different distribution system.
a different distribution system.
278
735321
3447
但現在通過互聯網，
我們擁有不同的分銷系統。
我們擁有不同的分銷系統。
12:51
And so schools have got to think
about what we're selling.
about what we're selling.
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738792
3599
學校還必須考慮賣什麼。
12:55
But I think that the face-to-face
interaction is not going to go away.
interaction is not going to go away.
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742415
4066
但我認為面對面的互動不會消失，
12:59
There's still something of value
here, as we've demonstrated today,
here, as we've demonstrated today,
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3170
仍有些有價值，
正如我們今天所展示的，
正如我們今天所展示的，
因為我們在 TED 這裡，
13:02
because we're at this thing called TED,
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我們仍想認識彼此。
13:04
where we still want to get
to know each other.
to know each other.
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非常感謝。
13:06
Thank you very much.
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（掌聲）
13:07
(Applause)
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ABOUT THE SPEAKER
José Bowen - Professor of musicJosé Bowen is an accomplished musician and teacher who explores how technology has shaped the history of music.
Why you should listen
In his over thirty-year career in music, José Bowen has appeared internationally with artists like Stan Getz, Dizzy Gillespie, and Bobby McFerrin, written over one hundred scholarly articles, and composed a Pulitzer Prize nominated symphony. He began teaching at Stanford University in 1982 before moving on to University of Southampton, Georgetown University, Miami University, and Southern Methodist University -- where he now resides as Dean of the Meadows School of the Arts, and Algur H. Meadows Chair and Professor of Music.
José Bowen | Speaker | TED.com