ABOUT THE SPEAKER
José Bowen - Professor of music
José 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.

More profile about the speaker
José Bowen | Speaker | TED.com
TEDxSMU

José Bowen: Beethoven the businessman

Filmed:
170,406 views

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.)
- Professor of music
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標題
I thought of for this talk,
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我最先想到的演講標題是
00:38
"Beethoven貝多芬 as Bill法案 Gates蓋茨."
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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存在 an educator教育家,
I am going to tell you the story故事,
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身為教育工作者,
我會告訴你這個故事,
00:47
and then you'll你會 figure數字 it out
for yourselves你自己.
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然後你自己判斷。
00:51
So the second第二 thought I had
was that I would tell the story故事
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我的第二個想法是講述音樂發行史,
00:55
of the history歷史 of music音樂 delivery交貨,
literally按照字面 from the beginning開始,
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按照字面從頭開始,
00:59
from pounding重擊 rocks岩石 to pounding重擊 rock.
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從擊石奏樂到搖滾樂。
01:02
The good news新聞 about this is
the first 10,000 years年份 just sailed航行 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年份,
if you want to make music音樂,
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一萬年來,如果你想弄點音樂,
01:12
you literally按照字面 pick up rocks岩石, later後來
instruments儀器, those sorts排序 of things.
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你真的會拿石頭,
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逐漸 in the West西, mostly大多
we start開始 to get a performing執行 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專家,
who were really good at pounding重擊 rocks岩石.
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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世紀,
we're still basically基本上 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專家, professionals專業人士,
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我們有一類專家、專業人員,
01:32
who play very expensive昂貴 instruments儀器,
for the most part部分,
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他們大都演奏非常昂貴的樂器,
01:35
things like the organ器官,
complicated複雜 instruments儀器,
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像風琴、複雜的樂器等。
01:37
and if you wanted to hear music音樂
in the 18th century世紀,
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如果你在 18 世紀想聽音樂,
01:40
it was live生活.
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是現場演奏的,
01:41
You had to go to a concert音樂會.
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你必須去音樂會。
01:43
You had to go to church教會,
you had to go to a civic公民 event事件,
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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製造 music音樂 live生活.
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01:49
So, music音樂 always involved參與
social社會 interaction相互作用.
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因此音樂總是涉及社交活動。
01:51
There were no headphones頭戴耳機 you could put on,
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沒有耳機可以戴上,
01:53
there was no iPhone蘋果手機,
there was no record記錄 player播放機.
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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音樂,
you had to get out of the house.
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01:59
There's really, basically基本上,
no music音樂 in your house.
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基本上家裡沒音樂。
02:02
This goes on through通過 the 18th century世紀
from the beginning開始,
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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瓦解.
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第一個突破。
02:09
These two things actually其實 happened發生
together一起, these two disruptions中斷.
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這兩個突破實際上是一起發生的。
02:12
We get the piano鋼琴, right?
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我們有了鋼琴,
02:15
The piano鋼琴 was a new technology技術
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那時鋼琴是一項新的技術,
02:17
that really starts啟動 to happen發生
in the 18th century世紀,
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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大規模生產 cheaply廉價地.
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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儀器
that's not too expensive昂貴,
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因此你能擁有這種不太昂貴的樂器,
02:27
that everyone大家 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允許 for a kind of disruption瓦解,
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所以這導致一種突破,
02:33
but it wouldn't不會 have happened發生
if the second第二 disruption瓦解 hadn't有沒有 happened發生
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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相同 time,
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02:37
which哪一個 is that somebody figured想通 out
how to do cheap低廉 music音樂 printing印花.
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第二個突破是有人想出
如何便宜地印刷樂譜。
02:40
Remember記得 Gutenberg古滕貝格
and the other kind of printing印花?
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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)
02:43
Music音樂 is a little more complicated複雜.
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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數字 out:
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02:47
How do I create創建 a cheap低廉 way
to distribute分發 sheet music音樂?
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如何用便宜的方法發行樂譜。
02:50
In London倫敦, at the time
of the American美國 Revolution革命,
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在美國革命時期的倫敦
(註:1976 年左右)
02:52
there are 12 music音樂 shops商店.
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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互聯網 wasn't
the first time this happened發生,
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所以,互聯網不是第一個突破,
03:05
because think about what happens發生
when, all of a sudden突然,
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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音樂,
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03:11
I've got to go hear Bach過獨身生活,
I've got to go hear Mozart莫扎特."
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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意味著 you had
to actually其實 go hear Mozart莫扎特.
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03:17
You didn't by a CD光盤 of Mozart莫扎特,
you didn't download下載 Mozart莫扎特.
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沒有莫扎特的 CD 可買或下載,
03:20
You couldn't不能 even buy購買 Mozart莫扎特 sheet music音樂,
at least最小 not easily容易 or cheaply廉價地.
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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。
03:24
But if you wanted to hear Mozart莫扎特 or Bach過獨身生活,
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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德國 and go hear them.
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03:29
But that's not true真正 for Beethoven貝多芬.
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但貝多芬並非如此。
03:31
And Beethoven貝多芬 figures人物 out that,
in fact事實, there's a new market市場.
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貝多芬想通了
實際上還有個新的市場。
03:35
Beethoven貝多芬 is an entrepreneur企業家,
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貝多芬是個企業家,
03:37
not unlike不像 our other friend朋友, Bill法案 Gates蓋茨.
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與我們的另一位朋友
比爾蓋茨沒什麼不同。
他是個企業家,想到:
03:39
He's an entrepreneur企業家 that figures人物 out,
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「嘿,我不必真正去倫敦。
03:41
"Hey, I don't have
to actually其實 go to London倫敦.
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03:43
I can actually其實 just sell sheet music音樂.
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我其實可以賣樂譜。
03:46
And it can be printed印刷的
and mass-distributed品質分佈,
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可以大量印刷和發行樂譜,
03:48
and I will be famous著名 everywhere到處,
and everybody每個人 else其他 will play my music音樂."
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我會處處聞名,
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變化 the experience經驗
of music音樂 for everybody每個人.
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03:54
It changes變化 the variety品種, it
changes變化 the global全球 pyramid金字塔,
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它改變了音樂的種類,
改變全球音樂的金字塔,
改變了各式各樣的東西。
03:57
it changes變化 all sorts排序 of things.
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03:59
It creates創建 a new class of musicians音樂家,
of composers作曲家 and performers表演者 --
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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勞動.
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如果你雇巴哈為你的婚禮演奏,
04:04
If you hire聘請 Bach過獨身生活 to play for your wedding婚禮,
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04:07
guess猜測 who shows節目 up?
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猜猜誰會出現呢?
04:09
Bach過獨身生活!
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巴哈!
04:10
(Laughter笑聲)
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(笑聲)
04:11
That's what he does for a living活的, 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擴大 his business商業.
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04:16
But Beethoven貝多芬 does.
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但是貝多芬能。
04:18
Then this happens發生 again.
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然後又突破了,
04:19
It happens發生 100 years年份 later後來, so
you're starting開始 to see a theme主題.
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發生在百年之後,
看得出來主題浮現了,
04:22
By the turn of the century世紀,
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「世紀之交」是音樂發行的
有趣時刻,對吧?
04:24
it's an interesting有趣 time
for music音樂 delivery交貨;
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一百年過去,我們有了
04:26
100 years年份 later後來, we get the record記錄
player播放機, the gramophone留聲機, the player播放機 piano鋼琴.
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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購買
Rachmaninoff拉赫瑪尼諾夫 sheet music音樂,
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04:32
but if you wanted to hear Rachmaninoff拉赫瑪尼諾夫,
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但如果你想聽拉赫曼尼諾夫演奏,
04:34
you had to actually其實 go
to the concert音樂會 hall大廳.
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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,
04:37
Now you can buy購買 a record記錄 of Rachmaninoff拉赫瑪尼諾夫,
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或者買個自動演奏鋼琴,
04:39
or you can buy購買 a player播放機 piano鋼琴
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04:41
and a roll that fits適合 into another另一個 kind
of recording記錄 device設備.
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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後來, the radio無線電.
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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德州;
you're Doc文件 Ross羅斯 in Texas德州,
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你是德州的歌手多克托·羅斯,
04:51
and you've got the Texas德州 big band
market市場, 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突然,
there's this new thing called "radio無線電."
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突然間有了「收音機」這個新東西,
04:57
And now everybody每個人 can hear Count計數 Basie貝西
and Duke公爵 Ellington埃林頓 and Benny班尼 Goodman古德曼.
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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競爭 just sucks now.
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競爭真是糟透了。
05:04
All of a sudden突然, the competition競爭
has gone走了 global全球,
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突然之間,競爭已走向全球,
05:07
just like it does a hundred years年份 later後來,
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就像一百年後的那樣,
05:09
with the iPodiPod的, the internet互聯網
and digital數字 files and Garage車庫 Band,
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有 iPod、互聯網、數位檔案
和 GarageBand,
05:13
that do all of these things
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.
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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企業家.
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首先,這兩個人都是企業家。
05:25
But second第二 of all, both of these guys
are software軟件 designers設計師.
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其次,這兩個人都是軟體設計師。
05:29
That's what Beethoven貝多芬 does.
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貝多芬寫軟體。
05:31
He writes software軟件 that runs運行
on that piece of hardware硬件 over there.
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他寫在那硬體(鋼琴)上跑的軟體。
05:34
(Laughter笑聲)
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(笑聲)
05:35
That's a piece of hardware硬件.
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那(鋼琴)是個硬體。
05:37
That's a device設備 that you can use
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)。
如果你有樂譜,樂譜好聽嗎?
05:40
If you have sheet music音樂,
does it sound聲音 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軟盤 disks磁盤;
they weren't very useful有用.
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就像磁片一樣,不太有用──
05:47
You can use them as coasters杯 墊, I guess猜測.
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我想你可以用來作為杯墊──
05:49
But they're not very useful有用 on their own擁有.
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樂譜和磁片一樣,
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。
05:51
So both Beethoven貝多芬 and Bill法案 Gates蓋茨
are software軟件 designers設計師.
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05:54
What's interesting有趣 is that
they also both live生活 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硬件
is changing改變 very quickly很快.
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06:01
Those of you who are
old enough足夠 to remember記得,
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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視窗 whatever隨你,
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回到 90 年代,
回到微軟視窗的年代,
06:07
and remember記得 your joy喜悅
and your love of Bill法案 Gates蓋茨,
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記住你對比爾蓋茨的喜愛,
06:10
as every一切 time a new
software軟件 package came來了 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電腦.
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猜猜看怎麼著?
06:17
So, guess猜測 what?
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當貝多芬開始譜曲時,
06:18
When Beethoven貝多芬 started開始 writing寫作 music音樂,
he had this instrument儀器 up on top最佳,
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他的鋼琴有五個八度。
06:22
with five octaves八度.
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06:23
This one's那些 bigger, it's got more pedals踏板,
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這個更大,有更多的踏板,
06:26
it's louder, it can do more stuff東東.
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聲音更響亮,可以做更多。
06:28
When Beethoven貝多芬 starts啟動 off,
he doesn't have a piano鋼琴 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。
06:31
He actually其實 just cannot不能 do this.
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實際上他無法、
06:33
He can't go -- (Musical音樂 chords和弦)
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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法國 piano鋼琴 maker製作者 --
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在 1803 年,一個法國鋼琴製造商──
06:41
alright好的, think about how smart聰明 this is:
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想想這多麼聰明:
06:43
If you're a piano鋼琴 maker製作者,
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如果你製造鋼琴,
06:45
into whose誰的 hands
do you want to get that piano鋼琴?
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你想把那架鋼琴給誰彈?
06:50
Composers作曲家.
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作曲家。
06:51
Artists藝術家 who will use the technology技術
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給用這技術的藝術家們,
06:53
and make everybody每個人 else其他
have to adopt採用 your technology技術.
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讓其他人不得不採用你的技術。
06:55
It's like sending發出 Bill法案 Gates蓋茨
your fastest最快的, latest最新 computer電腦,
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這就像把你最快、最新的電腦
送給比爾蓋茨一樣,
06:59
because you know he'll地獄 use up
all the memory記憶.
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因為你知道他會用盡
所有的記憶體容量。
07:01
(Laughter笑聲)
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(笑聲)
07:02
So in 1803, Érard珍稀 sends發送
Beethoven貝多芬 a new piano鋼琴.
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所以在 1803 年,耶拉爾
送一架新鋼琴給貝多芬。
07:06
And it has more notes筆記.
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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貝多芬 does is,
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。
07:14
If you've got a German德語 or a Viennese維也納 piano鋼琴
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如果你的鋼琴是德國、維也納
07:17
or a British英國的 piano鋼琴,
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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走了 to the music音樂 store商店.
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你已從樂行
07:26
And you've bought the latest最新
Beethoven貝多芬 piano鋼琴 sonata奏鳴曲,
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買了最新的貝多芬
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五倍頻 piano鋼琴
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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全新的,
latest最新 technology技術 last year.
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那是去年最新技術的嶄新品牌。
07:35
You start開始 playing播放 that new Beethoven貝多芬
piano鋼琴 sonata奏鳴曲, and what happens發生?
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你開始彈奏新的貝多芬
鋼琴奏鳴曲,會怎樣?
07:38
Not enough足夠 notes筆記!
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琴鍵不夠用了!
07:40
You run out of room房間.
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你超出鍵盤的範圍。
07:43
So, in fact事實, Beethoven貝多芬 has
the same相同 relationship關係 with his audience聽眾
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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。
07:47
that Bill法案 Gates蓋茨 does.
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他製造軟體,
07:48
He's a software軟件 producer製片人,
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07:50
and he has to deal合同 with the hardware硬件.
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必須處理對應的硬體。
07:53
And what's interesting有趣 about this
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有趣的是貝多芬實際上比
07:55
is that Beethoven貝多芬 was actually其實
smarter聰明 than Bill法案 Gates蓋茨.
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比爾蓋茨聰明。
07:58
So when Beethoven貝多芬 gets得到
his new Érard珍稀 piano鋼琴,
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當貝多芬得到新的耶拉爾鋼琴時,
08:01
he's writing寫作 his third第三 piano鋼琴 concerto協奏曲,
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他立即寫第三鋼琴協奏曲,
08:03
he goes and he gives a concert音樂會,
and he and uses使用 all those extra額外 notes筆記.
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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音樂會?
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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鋼琴 with him,
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08:11
because it's the only piano鋼琴
he has in Vienna維也納
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因為它是維也納唯一
有那些額外琴鍵的鋼琴。
08:13
that has those extra額外 notes筆記.
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他在鋼琴上演奏協奏曲,很棒。
08:15
So he plays播放 the concerto協奏曲
on the piano鋼琴. 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。」
08:17
But he realizes實現, "Oh, wait. Not everybody每個人
has one of these latest最新 things.
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08:21
So he publishes發布 piano鋼琴 sonatas奏鳴曲 --
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所以當他出版鋼琴奏鳴曲時,
08:24
He waits等待; he delays延遲:
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他等待,他延遲,
08:25
for the next下一個 10 years年份, he still
publishes發布 piano鋼琴 sonatas奏鳴曲
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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。
08:28
that don't use the extra額外 notes筆記.
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實際上他等待,因為 ──
08:30
He actually其實 waits等待, because --
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08:31
This idea理念 of Beethoven貝多芬?
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人們對貝多芬的想法,
08:33
Everything you know
about Beethoven貝多芬 -- basically基本上 wrong錯誤.
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你對貝多芬的一切所知
基本上是錯誤的。
08:35
Beethoven貝多芬 was a very clever聰明 entrepreneur企業家.
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貝多芬是個非常聰明的企業家,
08:38
So the music音樂 he wrote
for the popular流行 market市場 --
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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他自己, but the piano鋼琴 sonatas奏鳴曲 --
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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範圍 himself他自己 to the amount of keys按鍵
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08:46
that you have at home
in some part部分 of Southern南部的 Italy意大利,
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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年份 piano鋼琴.
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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效果 of these
disruptions中斷 in music音樂 technology技術?
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那麼,音樂技術的突破有什麼影響?
08:58
How do composers作曲家, how do people respond響應?
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作曲家、人們如何回應?
09:00
We've我們已經 had three of these things,
and they really all worked工作 the same相同 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。
09:04
We started開始 off with printing印花
and the piano鋼琴.
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我們從印刷和鋼琴開始。
09:06
The very first thing that happens發生
is: it redefines重新定義 the product產品.
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發生的第一件事是重新定義產品。
09:10
So the product產品 becomes sheet music音樂,
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產品變成了樂譜,
09:13
becomes a piece of paper
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世紀, it becomes a record記錄,
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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 21stST century世紀,
it becomes a digital數字 file文件.
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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性質 of the product產品 changes變化.
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09:25
Second第二, there's a division of labor勞動.
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其次是分工。
09:27
If you want to listen to Bach過獨身生活,
you've got to go listen to Bach過獨身生活;
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如果你想聽巴哈
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世紀, we've我們已經 got performers表演者,
and we've我們已經 got composers作曲家,
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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不同 things.
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現在有能夠操縱音樂的聽眾,
09:38
We have listeners聽眾 who can now
manipulate操作 music音樂 like you just saw.
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09:43
It changes變化 expectations期望 of quality質量.
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改變了對質量的期望。
09:44
Once一旦 everybody's每個人的 heard聽說
Count計數 Basie貝西 and Benny班尼 Goodman古德曼,
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一旦所有人都聽得到
貝西伯爵、班尼 · 古德曼,
09:47
maybe you're not quite相當 so happy快樂
with your local本地 band as much anymore.
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或許對當地的樂隊
就不再那麼滿意了。
09:51
You've now heard聽說 ... -- "I want to go
listen to Benny班尼 Goodman古德曼 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。
現在有了全球的市場,
09:54
You have now a global全球 market市場.
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09:56
You can hear things
that you didn't use to hear.
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你會聽到以前沒聽過的。
10:00
Every一切 time this happens發生,
we take away some social社會 interaction相互作用.
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每次發生這種情況時,
社交互動就又少了些。
10:04
With Beethoven貝多芬, you can now
play Beethoven貝多芬 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,
10:06
You can't play Mozart莫扎特 at home.
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你不能在家彈奏莫扎特。
10:09
But with Beethoven貝多芬, you can buy購買
the sheet music音樂, you can go home,
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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鋼琴.
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只有你在那裡。
10:14
And only you are there.
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10:15
Now you have headphones頭戴耳機
that do the same相同 thing.
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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中斷,
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會改變社交互動的數量。
10:19
it changes變化 the amount
of social社會 interaction相互作用.
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每次都是新的個性化體驗。
10:21
It's a new personalized個性化
experience經驗 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貝多芬 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更快,
I can play it slower比較慢.
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現在真的可以個人化我的體驗。
10:28
I can actually其實 personalize個性化
the experience經驗 now.
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消費者的選擇更多,市場變得更大。
10:31
There's more consumer消費者 choice選擇,
the marketplace市井 gets得到 bigger.
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樂行銷售的唱片數量增加。
10:34
The number of titles標題 on sale拍賣
in those music音樂 stores商店 goes up.
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10:38
But there's also less choice選擇,
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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。
10:40
because in a global全球 pyramid金字塔,
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選擇 out there.
How do you pick?
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10:45
And so marketing營銷 starts啟動 to come in,
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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味道 of the month?"
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10:49
There's one more thing
that's not on the list名單:
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還有不在名單上的一件事:
10:51
piracy海盜行為.
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盜版。
10:53
One of Haydn海頓 and Chopin's蕭邦的 biggest最大 worries
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海頓和蕭邦最擔憂之一
10:57
is that people were going
to write fake Chopin肖邦
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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肖邦" on it.
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11:01
Do you think Chopin肖邦 would have been
comforted by the fact事實,
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你認為蕭邦對這想法會感到寬慰嗎:
11:04
"Hey, 20 percent百分 of the people
who buy購買 fake Chopin肖邦
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「嘿,20% 買仿冒蕭邦曲子的人
11:07
are more likely容易 to go buy購買 real真實 Chopin肖邦"?
238
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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笑聲)
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(笑聲)
11:12
But Chopin肖邦, another另一個 clever聰明 entrepreneur企業家 --
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?
11:15
He publishes發布 his music音樂 in Italy意大利,
France法國, Germany德國 and England英國
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他在意大利、法國、德國
和英國同一天出版樂曲,
11:18
on the same相同 day,
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1160
因為當時沒有國際版權,
11:19
because there's no
international國際 copyright版權,
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2022
他必須在同一天發布所有內容,
11:21
so he's got to have everything
published發表 on the same相同 day.
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2708
而且各個國家發行的版本都不一樣。
11:24
And he puts看跌期權 differences分歧 in every一切 country國家.
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1980
所以如果你彈奏蕭邦,
11:26
So if you're playing播放 Chopin肖邦,
247
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不同國家的版本
被故意弄成有所不同,
11:27
the additions增加 from different不同 countries國家
are different不同 on purpose目的,
248
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3043
11:30
because he wanted to be able能夠
to track跟踪 who was a pirate海盜.
249
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因為他想找出誰盜版。
11:33
So, this wasn't something
that Sony索尼 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 ...
251
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1885
問題是......
11:39
This new technology技術,
252
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新技術
11:41
it makes品牌 more choice選擇 for more people,
it makes品牌 it more global全球,
253
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2920
提供更多人更多選擇,更加全球化,
11:44
but it also allows允許 more piracy海盜行為.
254
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2617
但也導致更多的盜版,
11:47
It also allows允許 for people
to have a marketing營銷 filter過濾.
255
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4273
也讓人有了營銷的過濾器。
11:51
They have some way to interact相互作用
that's not always direct直接.
256
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4225
他們總有些不直接的互動。
11:55
So the next下一個 time somebody says, you know,
257
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所以,下一次有人說:
11:58
"Nothing like the internet互聯網 ever happened發生."
258
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「互聯網之類的東西乃前所未有。」
12:01
Well, it's true真正, but these kinds
of disruptions中斷 in music音樂 technology技術
259
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4439
嗯,的確如此,
但是這種音樂技術的突破
過去已經發生過,
12:05
have happened發生 before.
260
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1598
12:07
And the model模型 for these disruptions中斷
is the same相同 as we see
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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企業.
262
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1450
12:11
It changes變化 the nature性質 of the product產品.
263
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2450
改變了產品的性質。
12:14
So if you're in book publishing出版,
264
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所以如果你出版圖書,
12:16
you thought you were in book publishing出版
because of these things called books圖書.
265
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4068
你以為你出版圖書
因為這些東西叫做書,
12:20
Well, you can still sell
novels小說 without books圖書.
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2327
但你在沒有書本的情況下
仍然可以賣小說。
12:22
You can still be in the music音樂 business商業
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1930
即使你不在唱片行業
12:24
even though雖然 you're not
in the record記錄 business商業.
268
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你仍然可以從事音樂行業。
12:27
You were selling銷售 records記錄
only because that was the technology技術
269
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你賣唱片
只因為那是你繼承的技術。
12:30
that you inherited遺傳.
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12:31
Newspaper報紙 business商業: dead.
271
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1893
雖然報業死了,
12:33
But journalism新聞學 isn't dead.
272
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1605
但新聞業沒死。
12:35
And finally最後, schools學校.
273
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1748
最後是學校。
12:37
School學校 is the next下一個 big horizon地平線,
274
724779
1949
學校是下一個大視野,
12:39
because what were we in the business商業 of?
275
726752
1926
因為我們在從事什麼行業呢?
12:41
Schools學校 used to be like buying購買
gas加油站 or buying購買 food餐飲;
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本地 entry條目
points all over the place地點.
277
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3278
必須在當地有銷售點。
12:48
But now, with the internet互聯網, we have
a different不同 distribution分配 system系統.
278
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3447
但現在通過互聯網,
我們擁有不同的分銷系統。
12:51
And so schools學校 have got to think
about what we're selling銷售.
279
738792
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學校還必須考慮賣什麼。
12:55
But I think that the face-to-face面對面
interaction相互作用 is not going to go away.
280
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我們已經 demonstrated證明 today今天,
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746505
3170
仍有些有價值,
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 TEDTED,
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我們仍想認識彼此。
13:04
where we still want to get
to know each other.
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非常感謝。
13:06
Thank you very much.
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1156
(掌聲)
13:07
(Applause掌聲)
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1861
Translated by Helen Chang
Reviewed by S Sung

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ABOUT THE SPEAKER
José Bowen - Professor of music
José 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.

More profile about the speaker
José Bowen | Speaker | TED.com

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