TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
史提芬‧哈利斯：演奏台上沒有所謂的彈錯
Filmed:
Readability: 3.1
769,694 views
什麼叫做失誤？史提芬‧哈利斯透過爵士四重奏的即興演出，帶我們看到一個更深奧的事實：我們之所以將許多事情當作失誤，只是因為我們沒有對它們做出適當的反應。
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.
0
0
3000
好吧，我不曉得我們今天要彈什麼曲子
00:18
I won't be able to tell you what it is until it happens.
1
3000
3000
開始彈奏前，我沒辦法要告訴你我們打算彈什麼
00:21
I didn't realize there was going to be a little music before.
2
6000
3000
我也不知道在演講開始之前會播放音樂
00:24
So I think I'm going to start with what I just heard.
3
9000
2000
我想就從剛剛聽到的音樂開始好了
00:26
(Music)
4
11000
10000
（音樂）
06:01
(Applause)
5
346000
9000
（掌聲）
06:10
Okay, so first of all,
6
355000
2000
好的，首先
06:12
let's welcome Mr. Jamire Williams on the drums,
7
357000
3000
讓我們歡迎鼓手賈麥爾‧威廉思
06:15
(Applause)
8
360000
3000
（掌聲）
06:18
Burniss Travis on the bass,
9
363000
2000
貝斯手波尼斯‧崔維斯
06:20
(Applause)
10
365000
2000
（掌聲）
06:22
and Mr. Christian Sands on the piano.
11
367000
3000
鋼琴手克力斯帝‧桑德斯
06:25
(Applause)
12
370000
3000
（掌聲）
06:28
So the bandstand, as we call it,
13
373000
2000
我們口中的這個演奏台
06:30
this is an incredible space.
14
375000
2000
是一個很不可思議的地方
06:32
It is really a sacred space.
15
377000
2000
真的是個很神聖的地方
06:34
And one of the things that is really sacred about it
16
379000
2000
這個地方之所以神聖
06:36
is that you have no opportunity to think about the future,
17
381000
3000
有個原因是你沒有機會去思考未來
06:39
or the past.
18
384000
2000
或是過去
06:41
You really are alive right here in this moment.
19
386000
2000
你人在這裡，確實地活在此時此刻
06:43
There are so many decisions being made
20
388000
2000
當你走上演奏台的時候
06:45
when you walk on the bandstand.
21
390000
2000
你要下很多決定
06:47
We had no idea what key we were going to play in.
22
392000
3000
我們剛剛也不知道今天會彈什麼調
06:50
In the middle, we sort of made our way
23
395000
2000
演奏到一半的時候，我們好像還不經意地彈了一首
06:52
into a song called "Titi Boom."
24
397000
2000
叫做《Titi Boom》的曲子
06:54
But that could have happened -- maybe, maybe not.
25
399000
3000
那樣的事情可能發生，也可能不會
06:57
Everyone's listening. We're responding.
26
402000
2000
大家都在聽，我們也在回應
06:59
You have no time for projected ideas.
27
404000
2000
你沒有時間去構思
07:01
So the idea of a mistake:
28
406000
3000
因此，說到"彈錯"
07:04
From the perspective of a jazz musician,
29
409000
2000
從一名爵士音樂家的觀點來看
07:06
it's easier to talk about someone else's mistake.
30
411000
3000
去討論其他人彈錯比較容易些
07:11
So the way I perceive a mistake when I'm on the bandstand --
31
416000
3000
我在台上時，我眼中的彈錯是這樣的
07:14
first of all, we don't really see it as a mistake.
32
419000
2000
首先，我們並不把它當作是錯的
07:16
The only mistake lies
33
421000
2000
除非我不能
07:18
in that I'm not able to perceive
34
423000
2000
聽出另一個人在彈什麼
07:20
what it is that someone else did.
35
425000
2000
這才是真正的失誤
07:22
Every "mistake" is an opportunity in jazz.
36
427000
3000
爵士樂中，每一個"失誤"都是一個機會
07:25
So it's hard to even describe
37
430000
2000
所以要找出一個彈錯的音
07:27
what a funny note would be.
38
432000
2000
並不容易
07:29
So for example, if I played a color, like we were playing on a palette,
39
434000
3000
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
07:32
that sounded like this ...
40
437000
2000
聽起來就像這樣...
07:34
(Music)
41
439000
2000
（音樂）
07:36
So if Christian played a note -- like play an F.
42
441000
3000
要是克力斯帝彈了一個F
07:39
(Music)
43
444000
2000
（音樂）
07:41
See, these are all right inside of the color palette.
44
446000
3000
那個F在我剛剛彈奏的一小段中，聽起來其實還不賴
07:44
If you played an E.
45
449000
3000
要是彈個E
07:47
See, these all lie right inside
46
452000
2000
這個音在我們隨意彈奏的曲子中
07:49
of this general emotional palette that we were painting.
47
454000
2000
聽起來也不賴
07:51
If you played an F# though,
48
456000
2000
要是彈了升F
07:53
(Dissonance)
49
458000
4000
（不協調）
07:57
to most people's ears, they would perceive that as a mistake.
50
462000
3000
大多數人一聽到，都會覺得這個音彈錯了
08:00
So I'm going to show you, we're going to play just for a second.
51
465000
2000
所以，我們現在要彈奏一下
08:02
And we're going to play on this palette.
52
467000
2000
就在這邊彈奏
08:04
And at some point, Christian will introduce this note.
53
469000
2000
同時，克力斯帝也會偶爾彈出這個音
08:06
And we won't react to it.
54
471000
2000
我們不會有所回應
08:08
He'll introduce it for a second
55
473000
2000
他只會彈個一秒
08:10
and then I'll stop, I'll talk for a second.
56
475000
2000
然後我會停下來，然後講一下
08:12
We'll see what happens when we play with this palette.
57
477000
2000
來看看我們這樣彈奏時，會發生什麼事
08:14
(Music)
58
479000
10000
（音樂）
08:39
So someone could conceptually perceive that as a mistake.
59
504000
4000
有人能夠知道那個音彈錯
08:43
The only way that I would say it was a mistake
60
508000
2000
但是，除非我們沒有回應那個音
08:45
is in that we didn't react to it.
61
510000
2000
我才會覺得那個音是錯的
08:47
It was an opportunity that was missed.
62
512000
2000
那就是個我們錯失的機會
08:49
So it's unpredictable. We'll paint this palette again.
63
514000
3000
這完全沒有辦法預料。我們再來彈一次
08:52
He'll play it. I don't know how we'll react to it, but something will change.
64
517000
3000
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
08:55
We'll all accept his ideas,
65
520000
2000
我們會接受他的想法
08:57
or not.
66
522000
2000
但也可能不會
08:59
(Music)
67
524000
10000
（音樂）
10:08
So you see, he played this note.
68
593000
2000
有聽到嗎，他彈了那個音
10:10
I ended up creating a melody out of it.
69
595000
2000
結果，我順著奏了一段旋律
10:12
The texture changed in the drums this time.
70
597000
2000
鼓手所擊的音也改變了
10:14
It got a little bit more rhythmic, a little bit more intense
71
599000
3000
因為我對那個音的反應方式
10:17
in response to how I responded to it.
72
602000
2000
整首曲子變得較有節奏，也較緊湊
10:19
So there is no mistake.
73
604000
2000
因此，沒有所謂的"彈錯"
10:21
The only mistake is if I'm not aware,
74
606000
2000
我覺得，唯一的錯誤
10:23
if each individual musician is not aware
75
608000
2000
是當音樂家沒有察覺
10:25
and accepting enough of his fellow band member
76
610000
4000
且沒有接受團員的想法，因此無法整合他彈出來的音
10:29
to incorporate the idea and we don't allow for creativity.
77
614000
3000
也因為如此，創意便沒有發展空間
10:32
So jazz, this bandstand is absolutely amazing.
78
617000
4000
爵士的表演舞台，相當的精彩
10:36
It's a very purifying experience.
79
621000
2000
是個純淨心靈的經驗
10:38
And I know that I speak for all of us when I tell you that we don't take it for granted.
80
623000
3000
我們每一位團員，都不會認為站在這表演是理所當然
10:41
We know that to be able to come on the bandstand and play music is a blessing.
81
626000
4000
我們知道，能夠站在這演出有多麼幸福
10:45
So how does this all relate to behavioral finance?
82
630000
3000
不過，這和行為經濟學怎麼扯得上關係呢？
10:48
Well we're jazz musicians,
83
633000
2000
唉，我們爵士音樂家
10:50
so stereotypically we don't have a great relationship to finance.
84
635000
2000
所以刻板印象中，我們和錢沒有什麼關係
10:52
(Laughter)
85
637000
3000
（笑聲）
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
86
640000
3000
總之，我只是想說說我們的處理方法
10:58
And the other dynamic of it
87
643000
2000
從另一個行為上來看
11:00
is that we don't micromanage in jazz.
88
645000
3000
我們彈奏爵士時，不會管太多
11:03
You have some people who do.
89
648000
2000
有些人會管很多
11:05
But what that does
90
650000
2000
但是
11:07
is it actually limits the artistic possibilities.
91
652000
2000
那反而限制了藝術上的可能性
11:09
If I come up and I dictate to the band
92
654000
3000
要是我上台來，然後對樂團說
11:12
that I want to play like this and I want the music to go this way,
93
657000
2000
我想要這樣彈，我想要那樣彈
11:14
and I just jump right in ...
94
659000
2000
然後就開始這樣...
11:16
ready, just play some time.
95
661000
2000
準備了
11:18
One, two, one, two, three, four.
96
663000
2000
一、二，一、二、三、四
11:20
(Music)
97
665000
12000
（音樂）
11:32
It's kind of chaotic because I'm bullying my ideas.
98
677000
2000
聽起來很亂，因為我的想法在霸凌別人
11:34
I'm telling them, "You come with me over this way."
99
679000
2000
我告訴他們：「你就和我這樣彈」
11:36
If I really want the music to go there,
100
681000
2000
如果，我真的想樣音樂照著我的方向走
11:38
the best way for me to do it is to listen.
101
683000
2000
最好的方法就是用聽的
11:40
This is a science of listening.
102
685000
2000
這就是聆聽的科學
11:42
It has far more to do with what I can perceive
103
687000
2000
彈奏出好音樂，不只是在於我能彈出什麼
11:44
than what it is that I can do.
104
689000
2000
更重要的是對音樂的聆聽
11:46
So if I want the music to get to a certain level of intensity,
105
691000
3000
如果我要音樂達到某種程度的緊湊感
11:49
the first step for me is
106
694000
2000
我要做的第一件事
11:51
to be patient, to listen to what's going on
107
696000
2000
就是耐心去聽我周圍的音樂
11:53
and pull from something that's going on around me.
108
698000
3000
然後從中得到彈奏的靈感
11:56
When you do that, you engage and inspire the other musicians
109
701000
3000
如此一來，其他團員不僅注意到你，你也給了他們靈感
11:59
and they give you more, and gradually it builds.
110
704000
2000
你所想要的音樂，也就漸漸地成形
12:01
Watch. One, two, a one, two, three, four.
111
706000
3000
注意聽，一二，一、二、三、四
12:04
(Music)
112
709000
10000
（音樂）
12:44
Totally different experience when I'm pulling ideas.
113
749000
3000
這和剛剛相比完全是不同的經驗
12:47
It's much more organic. It's much more nuanced.
114
752000
2000
更有組織，也更協調
12:49
It's not about bullying my vision or anything like that.
115
754000
2000
音樂並不是在於用自己的想法霸凌他人
12:51
It's about being here in the moment,
116
756000
2000
而是在於置身這一刻
12:53
accepting one another
117
758000
2000
接受彼此的想法
12:55
and allowing creativity to flow.
118
760000
2000
也讓創意萌芽發展
12:57
Thank you.
119
762000
2000
謝謝
12:59
(Applause)
120
764000
5000
（掌聲）
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