TEDSalon NY2011
Stefon Harris: There are no mistakes on the bandstand
Stefon Harris: Na pódiu neexistujú chyby
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Čo je to chyba? Stefon Harris nám spolu s jeho improvizačným jazzovým kvartetom ukáže na príkladoch hlbokú pravdu: veľa úkonov je považovaných za chyby len preto, že na ne nereagujeme vhodne.
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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Dobre, netuším, čo budeme hrať.
00:18
I won't be able to tell you what it is until it happens.
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Nebudem vám to vedieť povedať, až kým sa to nestane.
00:21
I didn't realize there was going to be a little music before.
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Neuvedomil som si, že tu bude tá zvučka.
00:24
So I think I'm going to start with what I just heard.
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Takže asi začnem tým, čo som práve počul.
00:26
(Music)
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(Hudba)
06:01
(Applause)
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(Potlesk)
06:10
Okay, so first of all,
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Dobre, takže najprv
06:12
let's welcome Mr. Jamire Williams on the drums,
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privítajme pána Jamira Williamsa na bicích,
06:15
(Applause)
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(Potlesk)
06:18
Burniss Travis on the bass,
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Burnissa Travisa na base
06:20
(Applause)
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(Potlesk)
06:22
and Mr. Christian Sands on the piano.
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a pána Christiana Sandsa na piane.
06:25
(Applause)
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(Potlesk)
06:28
So the bandstand, as we call it,
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Takže hudobné pódium, ako tomu hovoríme,
06:30
this is an incredible space.
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je neuveriteľné miesto.
06:32
It is really a sacred space.
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Je to naozaj posvätné miesto.
06:34
And one of the things that is really sacred about it
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A jedna z vecí, ktoré sú na ňom posvätné,
06:36
is that you have no opportunity to think about the future,
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je tá, že nemáte príležitosť rozmýšľať nad budúcnosťou
06:39
or the past.
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alebo minulosťou.
06:41
You really are alive right here in this moment.
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Skutočne žijete práve tu v tejto chvíli.
06:43
There are so many decisions being made
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Keď vkročíte na pódium,
06:45
when you walk on the bandstand.
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musíte urobiť veľmi veľa rozhodnutí.
06:47
We had no idea what key we were going to play in.
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Netušili sme, v akej tónine budeme hrať.
06:50
In the middle, we sort of made our way
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Uprostred sme tak trochu
06:52
into a song called "Titi Boom."
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začali hrať skladbu s názvom "Titi Boom."
06:54
But that could have happened -- maybe, maybe not.
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Ale to sa mohlo stať a nemuselo.
06:57
Everyone's listening. We're responding.
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Každý počúva. Reagujeme.
06:59
You have no time for projected ideas.
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Na naplánované nápady nemáte čas.
07:01
So the idea of a mistake:
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Takže ponímanie chyby:
07:04
From the perspective of a jazz musician,
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Z perspektívy jazzového hudobníka
07:06
it's easier to talk about someone else's mistake.
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je jednoduchšie rozprávať o chybe niekoho iného.
07:11
So the way I perceive a mistake when I'm on the bandstand --
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Takže spôsob, akým ja vnímam chybu, keď som na pódiu -
07:14
first of all, we don't really see it as a mistake.
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po prvé, my to v skutočnosti nevidíme ako chybu.
07:16
The only mistake lies
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Jediná chyba spočíva v tom,
07:18
in that I'm not able to perceive
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že nie som schopný vnímať
07:20
what it is that someone else did.
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to, čo urobil niekto iný.
07:22
Every "mistake" is an opportunity in jazz.
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Každá "chyba" je v jazze príležitosťou.
07:25
So it's hard to even describe
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Takže je ťažké vôbec vysvetliť,
07:27
what a funny note would be.
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čo by bolo nedobrým tónom.
07:29
So for example, if I played a color, like we were playing on a palette,
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Takže napríklad ak by som zahral farbu, ako keby sme hrali na palete,
07:32
that sounded like this ...
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ktorá by znela takto ...
07:34
(Music)
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(Hudba)
07:36
So if Christian played a note -- like play an F.
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Takže keby Christian zahral tón - ako je F.
07:39
(Music)
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(Hudba)
07:41
See, these are all right inside of the color palette.
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Vidíte, tieto všetky sú v rámci palety.
07:44
If you played an E.
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Ak by ste zahrali E.
07:47
See, these all lie right inside
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Vidíte, tieto všetky pasujú
07:49
of this general emotional palette that we were painting.
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do emocionálnej palety, ktorú sme maľovali.
07:51
If you played an F# though,
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Ale ak by ste zahrali F#,
07:53
(Dissonance)
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(Disonancia)
07:57
to most people's ears, they would perceive that as a mistake.
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uši väčšiny ľudí by to vnímali ako chybu.
08:00
So I'm going to show you, we're going to play just for a second.
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Takže vám ukážem, chvíľku budeme hrať.
08:02
And we're going to play on this palette.
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A budeme hrať na tejto palete.
08:04
And at some point, Christian will introduce this note.
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A v istom momente tam Christian vloží tento tón.
08:06
And we won't react to it.
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A my na to nebudeme reagovať.
08:08
He'll introduce it for a second
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Zahrá ho na sekundu a potom
08:10
and then I'll stop, I'll talk for a second.
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zastanem a chvíľku budem rozprávať.
08:12
We'll see what happens when we play with this palette.
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Uvidíme, čo sa stane, keď sa pohráme s touto paletou.
08:14
(Music)
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(Hudba)
08:39
So someone could conceptually perceive that as a mistake.
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Takže niekto by to mohol vnímať ako chybu.
08:43
The only way that I would say it was a mistake
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V jedinom zmysle, v akom by som to ja nazval chybou,
08:45
is in that we didn't react to it.
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je v tom, že sme na to nereagovali.
08:47
It was an opportunity that was missed.
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Bola to príležitosť, ktorú sme si nechali ujsť.
08:49
So it's unpredictable. We'll paint this palette again.
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Takže je to nepredvídateľné. Znovu budeme maľovať s touto paletou.
08:52
He'll play it. I don't know how we'll react to it, but something will change.
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Zahrá to. Neviem, ako na to zareagujeme, ale niečo sa zmení.
08:55
We'll all accept his ideas,
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Buď prijmeme jeho návrhy,
08:57
or not.
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alebo nie.
08:59
(Music)
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(Hudba)
10:08
So you see, he played this note.
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Takže vidíte, zahral ten tón.
10:10
I ended up creating a melody out of it.
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Ja som z neho vytvoril melódiu.
10:12
The texture changed in the drums this time.
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Tentokrát sa zmenila textúra bicích.
10:14
It got a little bit more rhythmic, a little bit more intense
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Bola trochu rytmickejšia, trochu intenzívnejšia,
10:17
in response to how I responded to it.
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ako odpoveď na to, ako som zareagoval ja.
10:19
So there is no mistake.
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Takže tu neexistuje chyba.
10:21
The only mistake is if I'm not aware,
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Chyba to je jedine vtedy, ak nevnímam,
10:23
if each individual musician is not aware
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ak každý jeden hudobník nevníma
10:25
and accepting enough of his fellow band member
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a neakceptuje svojich spolučlenov dostatočne na to,
10:29
to incorporate the idea and we don't allow for creativity.
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aby ten nápad začlenil, a ak nepočítame s kreativitou.
10:32
So jazz, this bandstand is absolutely amazing.
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Takže jazz, toto pódium je absolútne úžasné.
10:36
It's a very purifying experience.
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Je to veľmi očisťujúci zážitok.
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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A viem, že hovorím za nás všetkých, keď poviem, že to neberieme ako samozrejmosť.
10:41
We know that to be able to come on the bandstand and play music is a blessing.
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Vieme, že môcť prísť na pódium a hrať hudbu je požehnanie.
10:45
So how does this all relate to behavioral finance?
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Takže ako toto všetko súvisí so správaním financií?
10:48
Well we're jazz musicians,
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No, my sme jazzoví hudobníci,
10:50
so stereotypically we don't have a great relationship to finance.
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takže stereotypne nemáme veľmi dobrý vzťah k financiám.
10:52
(Laughter)
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(Smiech)
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
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Každopádne som vám len chcel ukázať, ako to riešime.
10:58
And the other dynamic of it
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A ďalšou dynamikou tohto je,
11:00
is that we don't micromanage in jazz.
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že my v jazze nemáme vedúcich jednotlivcov.
11:03
You have some people who do.
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Niektorí ľudia ich majú.
11:05
But what that does
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Ale to v skutočnosti spôsobuje
11:07
is it actually limits the artistic possibilities.
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obmedzenie umeleckých možností.
11:09
If I come up and I dictate to the band
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Ak si sem prídem a nadiktujem kapele,
11:12
that I want to play like this and I want the music to go this way,
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že chcem hrať takto a chcem, aby sa hudba uberala týmto smerom
11:14
and I just jump right in ...
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a proste sa vrhnem do ...
11:16
ready, just play some time.
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pripravení, trochu si zahráme.
11:18
One, two, one, two, three, four.
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Raz, dva, raz, dva, tri, štyri.
11:20
(Music)
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(Hudba)
11:32
It's kind of chaotic because I'm bullying my ideas.
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Je to trochu chaotické, pretože tvrdo presadzujem svoje nápady.
11:34
I'm telling them, "You come with me over this way."
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Hovorím im, "Poďte so mnou touto cestou."
11:36
If I really want the music to go there,
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Ak naozaj chcem, aby sa hudba ubrala tam,
11:38
the best way for me to do it is to listen.
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najlepší spôsob, akým to docielim, je, že budem počúvať.
11:40
This is a science of listening.
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Toto je veda o počúvaní.
11:42
It has far more to do with what I can perceive
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Má to oveľa viac do činenia s tým, čo dokážem vnímať,
11:44
than what it is that I can do.
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než s tým, čo dokážem urobiť.
11:46
So if I want the music to get to a certain level of intensity,
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Takže ak chcem, aby hudba získala istú úroveň intenzity,
11:49
the first step for me is
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mojím prvým krokom je
11:51
to be patient, to listen to what's going on
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byť trpezlivý, počúvať, čo sa deje,
11:53
and pull from something that's going on around me.
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a ťažiť z niečoho, čo sa deje okolo mňa.
11:56
When you do that, you engage and inspire the other musicians
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Keď to urobíte, zaujmete a inšpirujete ostatných hudobníkov
11:59
and they give you more, and gradually it builds.
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a tí vám dajú viac, a postupne sa to buduje.
12:01
Watch. One, two, a one, two, three, four.
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Sledujte. Raz, dva, raz, dva, tri, štyri.
12:04
(Music)
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(Hudba)
12:44
Totally different experience when I'm pulling ideas.
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Keď ťažím z nápadov, je to úplne odlišný zážitok.
12:47
It's much more organic. It's much more nuanced.
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Je to oveľa viac organické. Má to oveľa viac odtieňov.
12:49
It's not about bullying my vision or anything like that.
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Nie je to o prerážaní mojej vízie ani nič také.
12:51
It's about being here in the moment,
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Je to o tom, byť tu v tejto chvíli,
12:53
accepting one another
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akceptovať jeden druhého,
12:55
and allowing creativity to flow.
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a dovoliť kreativite, aby prúdila.
12:57
Thank you.
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Ďakujem.
12:59
(Applause)
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(Potlesk)
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