TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
史地冯･哈里斯：演奏台上没有错误
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什么是错误？史地冯･哈里斯通过他爵士乐四重奏的即兴创作告诉我们一个深刻事实：许多所谓的错误只是因为我们的应对不当。
Stefon Harris - Jazz vibraphonist
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Stefon Harris plays the vibraphone -- and leads a jazz ensemble with a collaborative sound built on collective inspiration. Full bio
Double-click the English transcript below to play the video.
00:15
Okay, I have no idea what we're going to play.
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好吧 我也不知道我们马上会演奏什么
00:18
I won't be able to tell you what it is until it happens.
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在演奏开始前我也没法告诉你们今天的曲目
00:21
I didn't realize there was going to be a little music before.
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我也不知道演奏前会有段音乐
00:24
So I think I'm going to start with what I just heard.
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那就用我刚刚听到的音乐开场吧
00:26
(Music)
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（音乐）
06:01
(Applause)
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（掌声）
06:10
Okay, so first of all,
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好的 首先
06:12
let's welcome Mr. Jamire Williams on the drums,
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让我们欢迎鼓手杰迈尔･威廉姆斯先生
06:15
(Applause)
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（掌声）
06:18
Burniss Travis on the bass,
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贝斯手贝尔尼斯･特拉维斯
06:20
(Applause)
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（掌声）
06:22
and Mr. Christian Sands on the piano.
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还有钢琴手克里斯蒂安･桑滋
06:25
(Applause)
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（掌声）
06:28
So the bandstand, as we call it,
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我们称之为的演奏台
06:30
this is an incredible space.
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是个不可思议的地方
06:32
It is really a sacred space.
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是个神圣的地方
06:34
And one of the things that is really sacred about it
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之所以神圣是因为
06:36
is that you have no opportunity to think about the future,
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你无法思考未来
06:39
or the past.
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或者过去
06:41
You really are alive right here in this moment.
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你真切地活在当下
06:43
There are so many decisions being made
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当你走上演奏台
06:45
when you walk on the bandstand.
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你就要作很多决定
06:47
We had no idea what key we were going to play in.
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我们不知道既定曲目
06:50
In the middle, we sort of made our way
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在演奏中我们揉合进了
06:52
into a song called "Titi Boom."
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一首叫“Titi Boom”的曲子
06:54
But that could have happened -- maybe, maybe not.
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但这个也是说不准的事
06:57
Everyone's listening. We're responding.
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每个人都在听 都在回应
06:59
You have no time for projected ideas.
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没有时间留给预期的想法
07:01
So the idea of a mistake:
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所谓的失误：
07:04
From the perspective of a jazz musician,
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从一个爵士乐手来看
07:06
it's easier to talk about someone else's mistake.
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谈论其他人的失误比较容易些
07:11
So the way I perceive a mistake when I'm on the bandstand --
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当我站在演奏台上 我对错误的理解是－
07:14
first of all, we don't really see it as a mistake.
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首先 我们并不把它看成一个失误
07:16
The only mistake lies
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除非
07:18
in that I'm not able to perceive
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我不能指出
07:20
what it is that someone else did.
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别人的失误
07:22
Every "mistake" is an opportunity in jazz.
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爵士乐里每一个“失误”都是一次机会
07:25
So it's hard to even describe
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所以要找出一个弹错的音
07:27
what a funny note would be.
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并不容易
07:29
So for example, if I played a color, like we were playing on a palette,
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比如 如果我现在从低音谈到高音 就像我们刚刚那样
07:32
that sounded like this ...
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听起来就是...
07:34
(Music)
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（音乐）
07:36
So if Christian played a note -- like play an F.
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如果克里斯蒂安弹出F调
07:39
(Music)
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07:41
See, these are all right inside of the color palette.
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那么这一段小调听起来还不错
07:44
If you played an E.
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如果是E调
07:47
See, these all lie right inside
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听起来也挺好
07:49
of this general emotional palette that we were painting.
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和整体的调子协调
07:51
If you played an F# though,
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但是如果加入升F调
07:53
(Dissonance)
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（不和谐音）
07:57
to most people's ears, they would perceive that as a mistake.
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对大部分人来说这就是个错误
08:00
So I'm going to show you, we're going to play just for a second.
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那么我来演示一下 我们快速弹奏一下
08:02
And we're going to play on this palette.
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我们会弹这个调子
08:04
And at some point, Christian will introduce this note.
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然后克里斯蒂安就加入这个音
08:06
And we won't react to it.
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我们不去应和它
08:08
He'll introduce it for a second
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他将展示一下
08:10
and then I'll stop, I'll talk for a second.
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然后我会停下来 说明一下
08:12
We'll see what happens when we play with this palette.
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让我们看看这段调子会是怎样的
08:14
(Music)
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（音乐）
08:39
So someone could conceptually perceive that as a mistake.
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有人会把这个理解为失误
08:43
The only way that I would say it was a mistake
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而我的理解是说它是个失误
08:45
is in that we didn't react to it.
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只是因为我们没有去回应它
08:47
It was an opportunity that was missed.
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这是个错失的机会
08:49
So it's unpredictable. We'll paint this palette again.
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所以演奏是捉摸不定的事 我们会再弹奏这段调子
08:52
He'll play it. I don't know how we'll react to it, but something will change.
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他弹奏这调子 我也不知道我会怎样去回应 但是肯定会有变化
08:55
We'll all accept his ideas,
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我们将接受他的想法
08:57
or not.
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但也不一定
08:59
(Music)
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（音乐）
10:08
So you see, he played this note.
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那么 他弹奏了这段调子
10:10
I ended up creating a melody out of it.
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我借此创作了一段旋律
10:12
The texture changed in the drums this time.
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这次鼓手的演奏改变了旋律的感觉
10:14
It got a little bit more rhythmic, a little bit more intense
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加入了更多节奏 更加紧凑
10:17
in response to how I responded to it.
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我们之间相互呼应
10:19
So there is no mistake.
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这样就没有失误了
10:21
The only mistake is if I'm not aware,
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除非我没有去回应
10:23
if each individual musician is not aware
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其他乐手也没有回应
10:25
and accepting enough of his fellow band member
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并没有接受乐队同伴的想法
10:29
to incorporate the idea and we don't allow for creativity.
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而抹杀了创新
10:32
So jazz, this bandstand is absolutely amazing.
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所以在爵士乐里 演奏台非常不可思议
10:36
It's a very purifying experience.
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这是个很纯粹的体验
10:38
And I know that I speak for all of us when I tell you that we don't take it for granted.
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我在此代表所有乐队成员说出这个观点 我们很珍视它
10:41
We know that to be able to come on the bandstand and play music is a blessing.
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我们能同台演奏是一种福气
10:45
So how does this all relate to behavioral finance?
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那么这个跟行为金融学是什么关系呢？
10:48
Well we're jazz musicians,
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我们是爵士乐手
10:50
so stereotypically we don't have a great relationship to finance.
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所以大家都觉得我们跟金融不是一条路上的
10:52
(Laughter)
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（笑声）
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
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不管怎么说 我想说的就是我们看待它的看法
10:58
And the other dynamic of it
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它的动态性就像
11:00
is that we don't micromanage in jazz.
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我们在爵士乐里不进行微观管理
11:03
You have some people who do.
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有些人会这么做
11:05
But what that does
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但是这会
11:07
is it actually limits the artistic possibilities.
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限制乐手的艺术潜能
11:09
If I come up and I dictate to the band
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如果我只跟乐队说
11:12
that I want to play like this and I want the music to go this way,
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我想这么演奏 我想让音乐这么走
11:14
and I just jump right in ...
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然后我就立刻开始
11:16
ready, just play some time.
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准备好了 就弹奏一会儿
11:18
One, two, one, two, three, four.
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一，二，一二三四
11:20
(Music)
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（音乐）
11:32
It's kind of chaotic because I'm bullying my ideas.
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这就有点嘈杂 因为我在滥施我自己的想法
11:34
I'm telling them, "You come with me over this way."
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我跟他们讲：“你得跟着我走。”
11:36
If I really want the music to go there,
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如果我真想让他们跟着我走
11:38
the best way for me to do it is to listen.
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最好方法就是倾听
11:40
This is a science of listening.
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这是个倾听的学问
11:42
It has far more to do with what I can perceive
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我能感受到的
11:44
than what it is that I can do.
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比我能做的更加重要
11:46
So if I want the music to get to a certain level of intensity,
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如果我想让音乐更紧张
11:49
the first step for me is
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首先我要做的
11:51
to be patient, to listen to what's going on
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是耐心 要先倾听
11:53
and pull from something that's going on around me.
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然后再演绎
11:56
When you do that, you engage and inspire the other musicians
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当你这样做的时候 你会启发其他乐手
11:59
and they give you more, and gradually it builds.
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当他们积极回应 音乐就浑然天成了
12:01
Watch. One, two, a one, two, three, four.
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展示一下 一，二，一二三四
12:04
(Music)
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（音乐）
12:44
Totally different experience when I'm pulling ideas.
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当我这样引导想法的话 就是完全不一样的效果
12:47
It's much more organic. It's much more nuanced.
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非常有组织的 更多微妙的细节处理
12:49
It's not about bullying my vision or anything like that.
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而不是把我的想法强加给别人
12:51
It's about being here in the moment,
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我们得在那一刻
12:53
accepting one another
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接纳别人
12:55
and allowing creativity to flow.
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并让创造力源源不绝地流动
12:57
Thank you.
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谢谢
12:59
(Applause)
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（掌声）
ABOUT THE SPEAKER
Stefon Harris - Jazz vibraphonistStefon 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.
Stefon Harris | Speaker | TED.com