ABOUT THE SPEAKER
Stefon Harris - Jazz vibraphonist
Stefon 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. 

More profile about the speaker
Stefon Harris | Speaker | TED.com
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:
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。
- Jazz vibraphonist
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理念 what we're going to play.
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好吧,我不曉得我們今天要彈什麼曲子
00:18
I won't慣於 be able能夠 to tell you what it is until直到 it happens發生.
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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實現 there was going to be a little music音樂 before.
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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開始 with what I just heard聽說.
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我想就從剛剛聽到的音樂開始好了
00:26
(Music音樂)
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(音樂)
06:01
(Applause掌聲)
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(掌聲)
06:10
Okay, so first of all,
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好的,首先
06:12
let's welcome歡迎 Mr先生. JamireJamire Williams威廉姆斯 on the drums,
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讓我們歡迎鼓手賈麥爾‧威廉思
06:15
(Applause掌聲)
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(掌聲)
06:18
BurnissBurniss Travis特拉維斯 on the bass低音,
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貝斯手波尼斯‧崔維斯
06:20
(Applause掌聲)
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(掌聲)
06:22
and Mr先生. Christian基督教 Sands金沙 on the piano鋼琴.
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鋼琴手克力斯帝‧桑德斯
06:25
(Applause掌聲)
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(掌聲)
06:28
So the bandstand音樂台, as we call it,
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我們口中的這個演奏台
06:30
this is an incredible難以置信 space空間.
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是一個很不可思議的地方
06:32
It is really a sacred神聖 space空間.
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真的是個很神聖的地方
06:34
And one of the things that is really sacred神聖 about it
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這個地方之所以神聖
06:36
is that you have no opportunity機會 to think about the future未來,
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有個原因是你沒有機會去思考未來
06:39
or the past過去.
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或是過去
06:41
You really are alive right here in this moment時刻.
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你人在這裡,確實地活在此時此刻
06:43
There are so many許多 decisions決定 being存在 made製作
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當你走上演奏台的時候
06:45
when you walk步行 on the bandstand音樂台.
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你要下很多決定
06:47
We had no idea理念 what key we were going to play in.
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我們剛剛也不知道今天會彈什麼調
06:50
In the middle中間, we sort分類 of made製作 our way
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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歌曲 called "Titi蒂蒂 Boom繁榮."
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叫做《Titi Boom》的曲子
06:54
But that could have happened發生 -- maybe, maybe not.
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那樣的事情可能發生,也可能不會
06:57
Everyone's每個人的 listening. We're responding響應.
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大家都在聽,我們也在回應
06:59
You have no time for projected預計 ideas思路.
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你沒有時間去構思
07:01
So the idea理念 of a mistake錯誤:
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因此,說到"彈錯"
07:04
From the perspective透視 of a jazz爵士樂 musician音樂家,
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從一名爵士音樂家的觀點來看
07:06
it's easier更輕鬆 to talk about someone有人 else's別人的 mistake錯誤.
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去討論其他人彈錯比較容易些
07:11
So the way I perceive感知 a mistake錯誤 when I'm on the bandstand音樂台 --
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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錯誤.
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首先,我們並不把它當作是錯的
07:16
The only mistake錯誤 lies
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除非我不能
07:18
in that I'm not able能夠 to perceive感知
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聽出另一個人在彈什麼
07:20
what it is that someone有人 else其他 did.
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這才是真正的失誤
07:22
Every一切 "mistake錯誤" is an opportunity機會 in jazz爵士樂.
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爵士樂中,每一個"失誤"都是一個機會
07:25
So it's hard to even describe描述
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所以要找出一個彈錯的音
07:27
what a funny滑稽 note注意 would be.
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並不容易
07:29
So for example, if I played發揮 a color顏色, like we were playing播放 on a palette調色板,
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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滿面 like this ...
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聽起來就像這樣...
07:34
(Music音樂)
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(音樂)
07:36
So if Christian基督教 played發揮 a note注意 -- like play an F.
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要是克力斯帝彈了一個F
07:39
(Music音樂)
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(音樂)
07:41
See, these are all right inside of the color顏色 palette調色板.
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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發揮 an E.
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要是彈個E
07:47
See, these all lie謊言 right inside
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這個音在我們隨意彈奏的曲子中
07:49
of this general一般 emotional情緒化 palette調色板 that we were painting繪畫.
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聽起來也不賴
07:51
If you played發揮 an F# though雖然,
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要是彈了升F
07:53
(Dissonance不和諧)
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(不協調)
07:57
to most people's人們 ears耳朵, they would perceive感知 that as a mistake錯誤.
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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顯示 you, we're going to play just for a second第二.
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所以,我們現在要彈奏一下
08:02
And we're going to play on this palette調色板.
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就在這邊彈奏
08:04
And at some point, Christian基督教 will introduce介紹 this note注意.
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同時,克力斯帝也會偶爾彈出這個音
08:06
And we won't慣於 react應對 to it.
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我們不會有所回應
08:08
He'll地獄 introduce介紹 it for a second第二
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他只會彈個一秒
08:10
and then I'll stop, I'll talk for a second第二.
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然後我會停下來,然後講一下
08:12
We'll see what happens發生 when we play with this palette調色板.
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來看看我們這樣彈奏時,會發生什麼事
08:14
(Music音樂)
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(音樂)
08:39
So someone有人 could conceptually概念 perceive感知 that as a mistake錯誤.
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有人能夠知道那個音彈錯
08:43
The only way that I would say it was a mistake錯誤
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但是,除非我們沒有回應那個音
08:45
is in that we didn't react應對 to it.
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我才會覺得那個音是錯的
08:47
It was an opportunity機會 that was missed錯過.
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那就是個我們錯失的機會
08:49
So it's unpredictable不可預料的. We'll paint塗料 this palette調色板 again.
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這完全沒有辦法預料。我們再來彈一次
08:52
He'll地獄 play it. I don't know how we'll react應對 to it, but something will change更改.
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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接受 his ideas思路,
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我們會接受他的想法
08:57
or not.
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但也可能不會
08:59
(Music音樂)
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(音樂)
10:08
So you see, he played發揮 this note注意.
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有聽到嗎,他彈了那個音
10:10
I ended結束 up creating創建 a melody旋律 out of it.
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結果,我順著奏了一段旋律
10:12
The texture質地 changed in the drums this time.
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鼓手所擊的音也改變了
10:14
It got a little bit more rhythmic有板有眼, a little bit more intense激烈
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因為我對那個音的反應方式
10:17
in response響應 to how I responded回應 to it.
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整首曲子變得較有節奏,也較緊湊
10:19
So there is no mistake錯誤.
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因此,沒有所謂的"彈錯"
10:21
The only mistake錯誤 is if I'm not aware知道的,
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我覺得,唯一的錯誤
10:23
if each individual個人 musician音樂家 is not aware知道的
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是當音樂家沒有察覺
10:25
and accepting驗收 enough足夠 of his fellow同伴 band member會員
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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合併 the idea理念 and we don't allow允許 for creativity創造力.
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也因為如此,創意便沒有發展空間
10:32
So jazz爵士樂, this bandstand音樂台 is absolutely絕對 amazing驚人.
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爵士的表演舞台,相當的精彩
10:36
It's a very purifying清潔 experience經驗.
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是個純淨心靈的經驗
10:38
And I know that I speak說話 for all of us when I tell you that we don't take it for granted理所當然.
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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能夠 to come on the bandstand音樂台 and play music音樂 is a blessing祝福.
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我們知道,能夠站在這演出有多麼幸福
10:45
So how does this all relate涉及 to behavioral行為的 finance金融?
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不過,這和行為經濟學怎麼扯得上關係呢?
10:48
Well we're jazz爵士樂 musicians音樂家,
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唉,我們爵士音樂家
10:50
so stereotypically刻板印象 we don't have a great relationship關係 to finance金融.
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所以刻板印象中,我們和錢沒有什麼關係
10:52
(Laughter笑聲)
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(笑聲)
10:55
Anyway無論如何, I just wanted to sort分類 of point out the way that we handle處理 it.
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總之,我只是想說說我們的處理方法
10:58
And the other dynamic動態 of it
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從另一個行為上來看
11:00
is that we don't micromanage微觀管理 in jazz爵士樂.
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我們彈奏爵士時,不會管太多
11:03
You have some people who do.
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有些人會管很多
11:05
But what that does
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但是
11:07
is it actually其實 limits範圍 the artistic藝術的 possibilities可能性.
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那反而限制了藝術上的可能性
11:09
If I come up and I dictate聽寫 to the band
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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音樂 to go this way,
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我想要這樣彈,我想要那樣彈
11:14
and I just jump right in ...
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然後就開始這樣...
11:16
ready準備, just play some time.
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準備了
11:18
One, two, one, two, three, four.
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一、二,一、二、三、四
11:20
(Music音樂)
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(音樂)
11:32
It's kind of chaotic混亂的 because I'm bullying欺凌 my ideas思路.
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聽起來很亂,因為我的想法在霸凌別人
11:34
I'm telling告訴 them, "You come with me over this way."
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我告訴他們:「你就和我這樣彈」
11:36
If I really want the music音樂 to go there,
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如果,我真的想樣音樂照著我的方向走
11:38
the best最好 way for me to do it is to listen.
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最好的方法就是用聽的
11:40
This is a science科學 of listening.
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這就是聆聽的科學
11:42
It has far more to do with what I can perceive感知
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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.
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更重要的是對音樂的聆聽
11:46
So if I want the music音樂 to get to a certain某些 level水平 of intensity強度,
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如果我要音樂達到某種程度的緊湊感
11:49
the first step for me is
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我要做的第一件事
11:51
to be patient患者, to listen to what's going on
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就是耐心去聽我周圍的音樂
11:53
and pull from something that's going on around me.
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然後從中得到彈奏的靈感
11:56
When you do that, you engage從事 and inspire啟發 the other musicians音樂家
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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逐漸 it builds建立.
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你所想要的音樂,也就漸漸地成形
12:01
Watch. One, two, a one, two, three, four.
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注意聽,一二,一、二、三、四
12:04
(Music音樂)
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(音樂)
12:44
Totally完全 different不同 experience經驗 when I'm pulling ideas思路.
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這和剛剛相比完全是不同的經驗
12:47
It's much more organic有機. It's much more nuanced細緻入微.
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更有組織,也更協調
12:49
It's not about bullying欺凌 my vision視力 or anything like that.
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音樂並不是在於用自己的想法霸凌他人
12:51
It's about being存在 here in the moment時刻,
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而是在於置身這一刻
12:53
accepting驗收 one another另一個
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接受彼此的想法
12:55
and allowing允許 creativity創造力 to flow.
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也讓創意萌芽發展
12:57
Thank you.
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謝謝
12:59
(Applause掌聲)
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(掌聲)
Translated by Ou Chih-Hong
Reviewed by Yen-chung Nora Huang

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ABOUT THE SPEAKER
Stefon Harris - Jazz vibraphonist
Stefon 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. 

More profile about the speaker
Stefon Harris | Speaker | TED.com