ABOUT THE SPEAKER
Michael Tilson Thomas - Musician, Conductor
Conductor Michael Tilson Thomas (call him MTT) is an all-around music educator -- connecting with global audiences, young musicians and concertgoers in San Francisco and London.

Why you should listen
As a conductor, Michael Tilson Thomas might be best known for his interpretation of the emotionally charged music of Gustav Mahler. But his legacy won't stop at his Grammy-winning recordings of the complete Mahler symphony cycle with his home orchestra, the San Francisco Symphony. He's also the founder of the New World Symphony, an orchestra that helps to educate young and gifted musicians as obsessed with their craft as he. Since its establishment in 1987, New World Symphony has launched the careers of more than 700 young musicians, and in its new Miami Beach concert hall designed by Frank Gehry, it's bringing well-played classical music to a truly popular audience. 
 
He's the guest conductor of the London Symphony Orchestra -- and the artistic director of the YouTube Symphony Orchestra (YTSO), a 96-member ensemble selected from online video auditions. Tilson Thomas conducted the YTSO at Carnegie Hall in 2009 and in 2011 in Sydney, Australia. And he's the creator of the Keeping Score education program for public schools, which uses PBS TV, web, radio and DVDs, and a K-12 curriculum to make classical music more accessible. In 2010, Tilson Thomas was awarded the National Medal of Arts, the highest award given to artists by the US government.

More profile about the speaker
Michael Tilson Thomas | Speaker | TED.com
TED2012

Michael Tilson Thomas: Music and emotion through time

Michael Tilson Thomas: 穿越時空的音樂情感

Filmed:
1,667,198 views

在這個如史詩般的導論中,Michael Tilson Thomas 自記譜的出現,至唱片錄音的記錄,到最後近代的混音風潮,帶我們一同追尋古典音樂的發展脈絡。
- Musician, Conductor
Conductor Michael Tilson Thomas (call him MTT) is an all-around music educator -- connecting with global audiences, young musicians and concertgoers in San Francisco and London. Full bio

Double-click the English transcript below to play the video.

00:16
Well when I was asked to do this TEDTalkTED演講, I was really chuckled,
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當我受邀來TED演講時,我笑了,
00:19
because, you see, my father's父親的 name名稱 was Ted攤曬,
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因為我的父親就叫Ted。
00:22
and much of my life, especially特別 my musical音樂 life,
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而我的人生,尤其是音樂方面的經歷,
00:26
is really a talk that I'm still having with him,
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就像是和我父親之間的對談,
00:30
or the part部分 of me that he continues繼續 to be.
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他雖然過世了,但還是永存在我心中。
00:33
Now Ted攤曬 was a New Yorker紐約客, an all-around在周圍 theater劇院 guy,
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我父親是紐約人,從事劇場工作,
00:37
and he was a self-taught自學成才 illustrator插畫 and musician音樂家.
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也是自學成才的插畫家和音樂家。
00:41
He didn't read a note注意,
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他一個音符都看不懂,
00:43
and he was profoundly深深 hearing聽力 impaired受損.
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而且聽力還很差,
00:46
Yet然而, he was my greatest最大 teacher老師.
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但他是我最好的老師。
00:49
Because even through通過 the squeaks尖叫聲 of his hearing聽力 aids艾滋病,
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即使透過他那支支叫的助聽器,
00:52
his understanding理解 of music音樂 was profound深刻.
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他對音樂的理解和造詣是極其深的。
00:56
And for him, it wasn't so much the way the music音樂 goes
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而且對他而言,重要的不是音樂的形式,
00:59
as about what it witnesses目擊者 and where it can take you.
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而是音樂所能見證的和它所能讓你觸動的。
01:03
And he did a painting繪畫 of this experience經驗,
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他曾將這個經驗畫下,
01:06
which哪一個 he called "In the Realm領域 of Music音樂."
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他叫這幅畫「在音樂的國度」。
01:09
Now Ted攤曬 entered進入 this realm領域 every一切 day by improvising即興
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我父親每天都透過即興演奏進入這個國度,
01:15
in a sort分類 of Tin Pan Alley胡同 style樣式 like this.
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他的風格有點錫盤街(美十九世紀末風格),像這樣:
01:18
(Music音樂)
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(音樂)
01:25
But he was tough強硬 when it came來了 to music音樂.
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但他對於音樂挺嚴苛的。
01:28
He said, "There are only two things that matter in music音樂:
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他說:「在音樂中重要的只有兩件事:
01:31
what and how.
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如何及為何。
01:33
And the thing about classical古典 music音樂,
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而古典音樂的特別之處在於,
01:37
that what and how, it's inexhaustible取之不盡,用之不竭."
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『如何與為何』的答案,有無限多個。」
01:40
That was his passion for the music音樂.
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他對音樂的熱愛就是如此。
01:43
Both my parents父母 really loved喜愛 it.
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我的父母都很愛音樂。
01:44
They didn't know all that much about it,
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他們對音樂懂得不是很多,
01:47
but they gave me the opportunity機會 to discover發現 it
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但他們給我機會
01:50
together一起 with them.
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和他們一起發掘音樂之美。
01:52
And I think inspired啟發 by that memory記憶,
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可能是因為受我父母的啟發,
01:56
it's been my desire慾望 to try and bring帶來 it
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我一直希望盡我所能
01:58
to as many許多 other people as I can,
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將音樂帶給更多人,
01:59
sort分類 of pass通過 it on through通過 whatever隨你 means手段.
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竭盡所能地傳承下去。
02:02
And how people get this music音樂, how it comes into their lives生活,
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而人們對音樂的領悟,以及音樂如何影響他們的生活,
02:07
really fascinates著迷 me.
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對我而言是很有趣的問題。
02:09
One day in New York紐約, I was on the street
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有天我走在紐約街上,
02:11
and I saw some kids孩子 playing播放 baseball棒球 between之間 stoops彎身 and cars汽車 and fire hydrants消防栓.
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看到小孩在車子和消防栓中間打棒球。
02:16
And a tough強硬, slouchy懶散的 kid孩子 got up to bat蝙蝠,
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然後有一個大塊頭上場打擊,
02:19
and he took a swing搖擺 and really connected連接的.
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他用力一揮,結實地擊中球。
02:22
And he watched看著 the ball fly for a second第二,
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他花了一兩秒看著球飛出去,
02:23
and then he went, "Dah長音 dadaratatatahdadaratatatah.
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然後唱著:「答答答...(音樂)
02:27
Brah布拉赫 dada達達 dadadadahdadadadah."
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巴拉答答答... 」
02:30
And he ran around the bases基地.
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邊唱邊繞著壘包跑。
02:32
And I thought, go figure數字.
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我心裡想著,還真奇妙了。
02:35
How did this piece of 18th century世紀 Austrian aristocratic貴族的 entertainment娛樂
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十八世紀奧地利貴族的娛興,
02:40
turn into the victory勝利 crow烏鴉 of this New York紐約 kid孩子?
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昰如何變成這紐約孩子的勝利之歌?
02:45
How was that passed通過 on? How did he get to hear Mozart莫扎特?
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是怎麼被傳承下來的?他怎麼聽到莫札特的?
02:49
Well when it comes to classical古典 music音樂,
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然而講到古典樂,
02:51
there's an awful可怕 lot to pass通過 on,
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要傳承的東西可就多了,
02:53
much more than Mozart莫扎特, Beethoven貝多芬 or TchiakovskyTchiakovsky.
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比莫札特、貝多芬、柴可夫斯基還要多太多。
02:57
Because classical古典 music音樂
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因為古典樂
02:59
is an unbroken綿綿 living活的 tradition傳統
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是超過一千年以來
03:02
that goes back over 1,000 years年份.
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不曾中斷過的傳統。
03:05
And every一切 one of those years年份
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而在這當中的每一年,
03:07
has had something unique獨特 and powerful強大 to say to us
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都能透過獨一無二的語道,
03:11
about what it's like to be alive.
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告訴我們活著,是什麼樣的感受。
03:14
Now the raw生的 material材料 of it, of course課程,
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當然這所有的原料,
03:17
is just the music音樂 of everyday每天 life.
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僅是日常生活中的音樂。
03:18
It's all the anthems國歌 and dance舞蹈 crazes銀紋
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是所有的詩歌和瘋狂舞蹈,
03:21
and ballads民謠 and marches遊行.
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民謠及進行曲。
03:23
But what classical古典 music音樂 does
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但是古典樂的角色在於,
03:26
is to distill蒸餾 all of these musics的音樂 down,
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把所有這些音樂提煉
03:31
to condense凝結 them to their absolute絕對 essence本質,
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凝聚出它們的精華,
03:34
and from that essence本質 create創建 a new language語言,
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並用這精華創造出一個新的語言。
03:38
a language語言 that speaks說話 very lovingly含情脈脈 and unflinchingly不留情面
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這語言以充滿愛和執著堅定的口吻,
03:43
about who we really are.
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傾訴著我們的真實面貌。
03:45
It's a language語言 that's still evolving進化.
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這是個仍在演變的語言。
03:48
Now over the centuries百年 it grew成長 into the big pieces we always think of,
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經過幾世紀的沿革,
它發展成我們常常想到的大型曲目,
03:52
like concertos協奏曲 and symphonies交響樂,
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像是協奏曲和交響曲等等。
03:55
but even the most ambitious有雄心 masterpiece傑作
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但是即使是最具有企圖心的巨作,
03:58
can have as its central中央 mission任務
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它的最終宗旨,
04:00
to bring帶來 you back to a fragile脆弱 and personal個人 moment時刻 --
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仍是將你帶回曾經歷的脆弱、孤單的時刻,
04:05
like this one from the Beethoven貝多芬 Violin小提琴 Concerto協奏曲.
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就如這首貝多芬的小提琴協奏曲:
04:08
(Music音樂)
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(音樂)
04:30
It's so simple簡單, so evocative喚起的.
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它是如此的簡單,如此的令人回味,
04:36
So many許多 emotions情緒 seem似乎 to be inside of it.
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之中似乎夾雜著無數情緒。
04:39
Yet然而, of course課程, like all music音樂,
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然而,就如所有的音樂,
04:41
it's essentially實質上 not about anything.
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它實質上並沒有任何含意。
04:43
It's just a design設計 of pitches球場 and silence安靜 and time.
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它僅是音調、寂靜、和拍子的設計組合。
04:47
And the pitches球場, the notes筆記, as you know, are just vibrations振動.
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而那些音符,你應知道,只是振動而已。
04:51
They're locations地點 in the spectrum光譜 of sound聲音.
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它們是聲波譜上的一些位置。
04:54
And whether是否 we call them 440 per second第二, A,
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我們可以叫它"每秒振440次",或是A,
04:58
or 3,729, B flat平面 -- trust相信 me, that's right --
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或每秒振3729次,這是降B -- 相信我,這是正確的 --
05:05
they're just phenomena現象.
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但它們只是物理現象而已。
05:09
But the way we react應對 to different不同 combinations組合 of these phenomena現象
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但是我們對於這些現象的各種組合
產生的反應,
05:13
is complex複雜 and emotional情緒化 and not totally完全 understood了解.
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是非常複雜且情緒化的,並尚未被完全解釋。
05:17
And the way we react應對 to them has changed radically根本 over the centuries百年,
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而且我們對音樂的反應
在過去幾世紀中也有極大的轉變,
05:21
as have our preferences優先 for them.
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對音樂的喜好也是一樣。
05:23
So for example, in the 11th century世紀,
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我舉例來說,在十一世紀時,
05:26
people liked喜歡 pieces that ended結束 like this.
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人們喜歡音樂有這樣的結尾:
05:30
(Music音樂)
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(音樂)
05:42
And in the 17th century世紀, it was more like this.
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但在十七世紀,人們卻比較喜歡這樣:
05:47
(Music音樂)
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(音樂)
05:52
And in the 21stST century世紀 ...
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然後在21世紀:
05:56
(Music音樂)
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(音樂)
06:04
Now your 21stST century世紀 ears耳朵 are quite相當 happy快樂 with this last chord,
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你們的21世紀耳朵聽到那最後一個和絃
覺得挺順耳的,
06:09
even though雖然 a while back it would have puzzled困惑 or annoyed懊惱 you
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然而在一些年前它可能會使你覺得奇怪或厭煩,
06:12
or sent發送 some of you running賽跑 from the room房間.
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或是使你們一些人奪門而出。
06:14
And the reason原因 you like it
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而你會喜歡它的原因
06:15
is because you've inherited遺傳, whether是否 you knew知道 it or not,
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是因為不管你知不知道,你已經繼承了
06:18
centuries-worth百年價值 of changes變化
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幾世紀累積下來
06:20
in musical音樂 theory理論, practice實踐 and fashion時尚.
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音樂理論、實行、及流行的演變。
06:24
And in classical古典 music音樂 we can follow跟隨 these changes變化 very, very accurately準確
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而在古典樂中我們可以非常準確地追尋這些演變。
06:29
because of the music's音樂的 powerful強大 silent無聲 partner夥伴,
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多虧於音樂強大而沉默的搭檔,
06:33
the way it's been passed通過 on: notation符號.
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也是它傳承的機制: 樂譜
06:37
Now the impulse衝動 to notate譜寫,
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想把音樂以符號表示的衝動,
06:39
or, more exactly究竟 I should say, encode編碼 music音樂
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或更正確地說,將音樂編碼,
06:41
has been with us for a very long time.
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已經跟著我們很久了。
06:44
In 200 B.C., a man named命名 SekulosSekulos
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在西元前200年,一位叫Sekulos的人
06:48
wrote this song歌曲 for his departed死者 wife妻子
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為他去世的妻子寫了這首歌,
06:51
and inscribed it on her gravestone墓碑
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並以希臘人的記譜系統
06:53
in the notational記法 system系統 of the Greeks希臘人.
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把它刻於她的墓碑上。
06:55
(Music音樂)
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(音樂)
07:23
And a thousand years年份 later後來,
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而一千年後,
07:25
this impulse衝動 to notate譜寫 took an entirely完全 different不同 form形成.
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我們寫下音樂的慾望演變成完全不同的型式。
07:29
And you can see how this happened發生
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你可以想像這是如何發生的。
07:31
in these excerpts摘錄 from the Christmas聖誕 mass "Puer普洱 Natus了Natus est美東時間 nobis諾比斯,"
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聽聽這些片段,取自聖誕彌撒 "Puer Natus est nobis" (拉丁文)
07:37
"For Us is Born天生."
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" (嬰孩) 為我們誕生"
07:40
(Music音樂)
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(音樂)
07:44
In the 10th century世紀, little squiggles潦草的字跡 were used
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在十世紀,扭曲的小線條
07:46
just to indicate表明 the general一般 shape形狀 of the tune調.
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用來表示曲調的大概形狀。
07:50
And in the 12th century世紀, a line was drawn, like a musical音樂 horizon地平線 line,
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然後在十二世紀,增加了一條線,像是音樂的地平線,
07:57
to better pinpoint查明 the pitch's間距的 location位置.
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用來更準確地指出音調的位置。
08:00
And then in the 13th century世紀, more lines and new shapes形狀 of notes筆記
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然後於十三世紀,有更多的線條和不同形狀的音符,
08:08
locked鎖定 in the concept概念 of the tune調 exactly究竟,
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將曲調的概念更加準確地具體化,
08:12
and that led to the kind of notation符號 we have today今天.
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並演變成我們現今擁有的記譜系統。
08:15
Well notation符號 not only passed通過 the music音樂 on,
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記譜不只是讓音樂傳承下去,
08:18
notating其中註明了 and encoding編碼 the music音樂 changed its priorities優先 entirely完全,
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將音樂記下並編碼完全改變了音樂的重心,
08:23
because it enabled啟用 the musicians音樂家
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因為它使音樂家們
08:25
to imagine想像 music音樂 on a much vaster更廣闊 scale規模.
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能於更加遼闊的規模想像音樂。
08:29
Now inspired啟發 moves移動 of improvisation即興
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如此一來即興的演出
08:32
could be recorded記錄, saved保存, considered考慮, prioritized優先,
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就能夠被記錄、保存、研究、給予優先順序,
08:36
made製作 into intricate錯綜複雜 designs設計.
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並加以構成精密的設計。
08:39
And from this moment時刻, classical古典 music音樂 became成為
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從此刻開始,古典音樂就形成
08:42
what it most essentially實質上 is,
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它最根本的特質,
08:44
a dialogue對話 between之間 the two powerful強大 sides雙方 of our nature性質:
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也就是我們本性最重要的兩面: 直覺與智慧,
08:49
instinct直覺 and intelligence情報.
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之間的對話。
08:52
And there began開始 to be a real真實 difference區別 at this point
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從此刻起,即興創作的藝術
08:55
between之間 the art藝術 of improvisation即興
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與作曲的藝術之間
08:58
and the art藝術 of composition組成.
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開始有實質的不同之處。
09:00
Now an improviser即興 senses感官 and plays播放 the next下一個 cool move移動,
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現在,即興演奏家感受並演出下一個很酷的招數,
09:04
but a composer作曲家 is considering考慮 all possible可能 moves移動,
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但是作曲家卻能夠考慮所有可能的路數,
09:08
testing測試 them out, prioritizing優先 them out,
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一個個嘗試、評斷
09:11
until直到 he sees看到 how they can form形成 a powerful強大 and coherent相干 design設計
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直到他看出它們如何形成一個強大連貫的設計
09:15
of ultimate最終 and enduring持久 coolness涼意.
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充滿著最絕對與持久的「酷」。
09:20
Now some of the greatest最大 composers作曲家, like Bach過獨身生活,
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然而世界上一些最頂尖的作曲家,像是巴哈,
09:21
were combinations組合 of these two things.
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是這兩者的組合。
09:24
Bach過獨身生活 was like a great improviser即興 with a mind心神 of a chess master.
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巴哈就像是一個擁有西洋棋大師般縝密思維
的即興創作家,
09:28
Mozart莫扎特 was the same相同 way.
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莫札特也是。
09:30
But every一切 musician音樂家 strikes罷工 a different不同 balance平衡
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但是每一個音樂家在信念與邏輯,
09:33
between之間 faith信仰 and reason原因, instinct直覺 and intelligence情報.
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直覺和智慧間,會取得不同的平衡點。
09:37
And every一切 musical音樂 era時代 had different不同 priorities優先 of these things,
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而每一個年代的音樂
對於這些東西的優先順序也有所不同。
09:42
different不同 things to pass通過 on, different不同 'whats''什麼是' and 'hows'“怎麼樣了”.
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傳承著不同的東西,不同的「如何」及「為何」。
09:46
So in the first eight centuries百年 or so of this tradition傳統
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在這個傳統的前八個世紀左右
09:50
the big 'what''什麼' was to praise讚美 God.
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最重要的「為何」是去榮耀上帝。
09:53
And by the 1400s, music音樂 was being存在 written書面
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到了十五世紀,人們開始創作音樂
09:56
that tried試著 to mirror鏡子 God's mind心神
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來揣摩上帝於設計夜晚星空
10:00
as could be seen看到 in the design設計 of the night sky天空.
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所表現出的思想端倪。
10:04
The 'how''怎麼樣' was a style樣式 called polyphony複音,
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而「如何」表現則是一種叫複音音樂的風格,
10:07
music音樂 of many許多 independently獨立地 moving移動 voices聲音
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它由許多獨自移動的人聲組成,
10:11
that suggested建議 the way the planets行星 seemed似乎 to move移動
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用來象徵托勒密的地心宇宙觀中
10:14
in Ptolemy's托勒密 geocentric地心 universe宇宙.
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星球移動的現象。
10:16
This was truly the music音樂 of the spheres.
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這真正是星體的音樂:
10:20
(Music音樂)
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(音樂)
10:49
This is the kind of music音樂 that Leonardo萊昂納多 DaVinci達芬奇 would have known已知.
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李奧納多‧達文西可能聽的就是這種音樂。
10:55
And perhaps也許 its tremendous巨大 intellectual知識分子 perfection完美 and serenity寧靜
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而搞不好這種音樂的知性完美及寧靜
10:58
meant意味著 that something new had to happen發生 --
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代表著某些新穎的作品必須出現--
11:01
a radical激進 new move移動, which哪一個 in 1600 is what did happen發生.
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革命性的新舉,而這在十七世紀時的確發生了
11:05
(Music音樂) Singer歌手: Ah, bitter blow打擊!
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(音樂)
男聲: 阿,嚴酷的打擊!
11:12
Ah, wicked邪惡, cruel殘忍 fate命運!
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阿,邪惡又殘酷的命運!
11:17
Ah, baleful惡意 stars明星!
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阿,凶煞之星!
11:24
Ah, avaricious貪婪 heaven天堂!
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阿,貪婪的上天!
11:31
MTTMTT: This, of course課程, was the birth分娩 of opera歌劇,
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這正是歌劇的誕生,
11:34
and its development發展 put music音樂 on a radical激進 new course課程.
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而它的發展將音樂引往全新的軌道。
11:37
The what now was not to mirror鏡子 the mind心神 of God,
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那時的「為何」不再是揣摩上帝的心意,
11:41
but to follow跟隨 the emotion情感 turbulence動亂 of man.
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而是追尋人類如漩渦般的複雜情緒。
11:44
And the how was harmony和諧,
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而「如何」則表現於和聲,
11:48
stacking堆疊 up the pitches球場 to form形成 chords和弦.
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把音符堆疊起來變成和絃。
11:51
And the chords和弦, it turned轉身 out,
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他們發現和弦可以表現
11:53
were capable of representing代表 incredible難以置信 varieties品種 of emotions情緒.
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驚人的多種不同情緒變化。
11:57
And the basic基本 chords和弦 were the ones那些 we still have with us,
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最基本的和弦我們現在仍在使用,
12:01
the triads黑社會,
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就所謂的三和弦,
12:03
either the major重大的 one,
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可以是大調的,
12:06
which哪一個 we think is happy快樂,
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我們覺得聽起來是快樂的,
12:11
or the minor次要 one,
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或是小調的,
12:14
which哪一個 we perceive感知 as sad傷心.
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而我們感覺它是難過的。
12:18
But what's the actual實際 difference區別 between之間 these two chords和弦?
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但這兩個和弦之間的不同到底在哪裡?
12:21
It's just these two notes筆記 in the middle中間.
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其實就只是中間的這兩個音符罷了。
12:23
It's either E natural自然,
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它可以是還原E,
12:26
and 659 vibrations振動 per second第二,
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每秒振動659次,
12:31
or E flat平面, at 622.
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或是降E,每秒622次。
12:36
So the big difference區別 between之間 human人的 happiness幸福 and sadness?
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所以人類快樂與悲傷的不同到底在哪裡?
12:41
37 freakin'刻著' vibrations振動.
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就那37個振動而已阿!
12:44
So you can see in a system系統 like this
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因此在這麼一個系統中,
12:48
there was enormous巨大 subtle微妙 potential潛在
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你可想有多少細微變化和潛力
12:50
of representing代表 human人的 emotions情緒.
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來表示人類的情緒變化。
12:52
And in fact事實, as man began開始 to understand理解 more
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事實上,當人們開始更加了解
12:56
his complex複雜 and ambivalent矛盾 nature性質,
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他們自己複雜又模稜兩可的本性時,
12:58
harmony和諧 grew成長 more complex複雜 to reflect反映 it.
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和聲便隨之演變得更加複雜。
13:01
Turns out it was capable of expressing表達 emotions情緒
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人們發現它能夠描繪
13:05
beyond the ability能力 of words.
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言語無法傳述的情感。
13:06
Now with all this possibility可能性,
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所以擁有了這無限可能,
13:10
classical古典 music音樂 really took off.
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古典樂真正開始飛黃騰達。
13:14
It's the time in which哪一個 the big forms形式 began開始 to arise出現.
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這就是那些主要的作曲形式開始發展的時代。
13:17
And the effects效果 of technology技術 began開始 to be felt also,
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並開始受到科技的影響,
13:22
because printing印花 put music音樂, the scores分數, the codebooks碼本 of music音樂,
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因為印刷技術將樂譜,音樂的編碼書,
13:26
into the hands of performers表演者 everywhere到處.
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放入世界各處的演奏家手中。
13:28
And new and improved改善 instruments儀器
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而更新改良的樂器,
13:30
made製作 the age年齡 of the virtuoso演奏家 possible可能.
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造就了演藝精湛的音樂家世代。
13:34
This is when those big forms形式 arose出現 --
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那些大型的音樂型式就是這時開始崛起--
13:37
the symphonies交響樂, the sonatas奏鳴曲, the concertos協奏曲.
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如那些交響樂、奏鳴曲、協奏曲。
13:40
And in these big architectures架構 of time,
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而在這些跨越時空的結構中,
13:44
composers作曲家 like Beethoven貝多芬 could share分享 the insights見解 of a lifetime一生.
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像貝多芬這樣的作曲家就能夠與別人分享他一生的經驗。
13:50
A piece like Beethoven's貝多芬 Fifth第五
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如貝多芬的第五號交響曲,
13:52
basically基本上 witnessing見證 how it was possible可能
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讓我們見證它如何能夠
13:57
for him to go from sorrow悲哀 and anger憤怒,
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由悲傷和憤怒
14:02
over the course課程 of a half an hour小時,
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在半個鐘頭之中
14:06
step by exacting嚴格 step of his route路線,
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一步一步,精確地,
14:10
to the moment時刻 when he could make it across橫過 to joy喜悅.
218
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走向喜悅的那一剎那。
14:14
(Music音樂)
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(音樂)
14:36
And it turned轉身 out the symphony交響樂 could be used for more complex複雜 issues問題,
220
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而且交響樂也可以用來表達更複雜的領域,
14:41
like gripping ones那些 of culture文化,
221
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像是文化,
14:44
such這樣 as nationalism民族主義 or quest尋求 for freedom自由
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如民族主義或是對自由的追尋,
14:47
or the frontiers前沿 of sensuality淫蕩.
223
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或是人類性情的邊境。
14:51
But whatever隨你 direction方向 the music音樂 took,
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但無論音樂的走向是如何,
14:55
one thing until直到 recently最近 was always the same相同,
225
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一直到最近,有一樣東西一直都不變,
14:57
and that was when the musicians音樂家 stopped停止 playing播放,
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那就是,當音樂家停止演奏時,
15:00
the music音樂 stopped停止.
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音樂也隨之靜止。
15:02
Now this moment時刻 so fascinates著迷 me.
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這一刻一直令我十分感興趣。
15:06
I find it such這樣 a profound深刻 one.
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我認為它意義深遠。
15:08
What happens發生 when the music音樂 stops停止?
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當音樂停止時,會發生什麼事?
15:09
Where does it go? What's left?
231
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它跑去哪裡?它留下了什麼?
15:13
What sticks with people in the audience聽眾 at the end結束 of a performance性能?
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當表演結束後,觀眾腦海裡還遺留着些什麼?
15:16
Is it a melody旋律 or a rhythm韻律
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是曲調,是節奏,
15:18
or a mood心情 or an attitude態度?
234
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還是一種情緒或是一種態度?
15:20
And how might威力 that change更改 their lives生活?
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而這會如何改變他們的生活?
15:23
To me this is the intimate親密, personal個人 side of music音樂.
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對我而言這是音樂最深切、私人的一面。
15:27
It's the passing通過 on part部分. It's the 'why''為什麼' part部分 of it.
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是那個傳下去的部分,那個「為什麼」的部分,
15:31
And to me that's the most essential必要 of all.
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對我來說這才是最重要的。
15:34
Mostly大多 it's been a person-to-person人對人 thing,
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這大多都是一種人和人之間的互動,
15:38
a teacher-student師生, performer-audience表演者,觀眾 thing,
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像是師生之間,或演出者與觀眾之間。
15:41
and then around 1880 came來了 this new technology技術
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但在1880年代一個新科技誕生了,
15:44
that first mechanically機械 then through通過 analogs類似物 then digitally數字
242
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先由類比而後經由數位訊號
15:46
created創建 a new and miraculous神奇 way of passing通過 things on,
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創造了一個奇蹟般傳承音樂的新方法,
15:51
albeit儘管 an impersonal非人的 one.
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然而它不是透過人際傳達的。
15:52
People could now hear music音樂 all the time,
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現在人們隨時都可以聽音樂。
15:56
even though雖然 it wasn't necessary必要
246
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他們不需要
15:57
for them to play an instrument儀器, read music音樂 or even go to concerts音樂會.
247
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會演奏樂器,視譜,甚至是去聽音樂會。
16:02
And technology技術 democratized民主化 music音樂 by making製造 everything available可得到.
248
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科技把音樂帶給了人們,使之民主化,大眾化。
16:07
It spearheaded帶頭 a cultural文化 revolution革命
249
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它引起了一場文化革命,
16:09
in which哪一個 artists藝術家 like Caruso卡魯索 and Bessie貝西 Smith工匠 were on the same相同 footing立足點.
250
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在此中聲樂家Caruso和藍調歌手Bessie Smith
的地位是相當的。
16:14
And technology技術 pushed composers作曲家 to tremendous巨大 extremes極端,
251
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而科技也將作曲家的靈感逼到最極限,
16:17
using運用 computers電腦 and synthesizers合成
252
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利用電腦和合成器
16:19
to create創建 works作品 of intellectually知性上 impenetrable費解的 complexity複雜
253
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創作複雜得令人費解的作品,
16:22
beyond the means手段 of performers表演者 and audiences觀眾.
254
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超越演奏家和觀眾的的想像。
16:27
At the same相同 time technology技術,
255
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科技同時經由
16:29
by taking服用 over the role角色 that notation符號 had always played發揮,
256
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替代樂譜過去扮演的角色,
16:32
shifted the balance平衡 within music音樂 between之間 instinct直覺 and intelligence情報
257
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轉移了音樂裡直覺與智慧的平衡,
16:37
way over to the instinctive直覺的 side.
258
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遠遠的到直覺那邊去。
16:40
The culture文化 in which哪一個 we live生活 now
259
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我們現在的文化
16:42
is awash充斥著 with music音樂 of improvisation即興
260
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充斥著即興組合的音樂,
16:45
that's been sliced切片, diced切塊, layered分層
261
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1625
被重複切割、組合、複疊
16:47
and, God knows知道, distributed分散式 and sold出售.
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還有,誰知道,被發行販售。
16:51
What's the long-term長期 effect影響 of this on us or on music音樂?
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這對我們和音樂的長期影響是什麼?
16:54
Nobody沒有人 knows知道.
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沒有人知道。
16:55
The question remains遺跡: What happens發生 when the music音樂 stops停止?
265
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而問題仍存在: 當音樂停止時,會發生什麼事?
16:59
What sticks with people?
266
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哪些部分留在了人的的腦海中?
17:01
Now that we have unlimited無限 access訪問 to music音樂, what does stick with us?
267
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如今我們可以無限享受音樂,什麼部分會跟隨我們?
17:05
Well let me show顯示 you a story故事 of what I mean
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讓我跟你說一個故事,來講明
17:07
by "really sticking癥結 with us."
269
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"跟隨著我們"的意思。
17:09
I was visiting訪問 a cousin表姐 of mine in an old age年齡 home,
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我之前去養老院拜訪我的表兄,
17:12
and I spied窺探 a very shaky搖搖欲墜 old man
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然後看見一個顫抖的老人
17:15
making製造 his way across橫過 the room房間 on a walker助步車.
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正移著助行器走過房間中央。
17:17
He came來了 over to a piano鋼琴 that was there,
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他走到那裡的鋼琴前,
17:20
and he balanced均衡 himself他自己 and began開始 playing播放 something like this.
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他坐好後開始彈類似這樣的曲子:
17:24
(Music音樂)
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(音樂)
17:29
And he said something like, "Me ... boy男孩 ... symphony交響樂 ... Beethoven貝多芬."
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然後他說:「我...小時候...交響曲...貝多芬」
17:38
And I suddenly突然 got it,
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然後我忽然間聽懂了,
17:39
and I said, "Friend朋友, by any chance機會 are you trying to play this?"
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然後我說:「這位朋友,你是不是想試著彈這個?」
17:42
(Music音樂)
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(音樂)
17:47
And he said, "Yes, yes. I was a little boy男孩.
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他說:「對,對,我那時只是個小男孩。
17:50
The symphony交響樂: Isaac艾薩克 Stern嚴肅, the concerto協奏曲, I heard聽說 it."
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那首交響曲: Isaac Stern (小提琴家),
那協奏曲,我聽過。」
17:54
And I thought, my God,
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然後我心裡想,我的天啊,
17:56
how much must必須 this music音樂 mean to this man
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音樂對這位老先生而言是多麼重要,
17:59
that he would get himself他自己 out of his bed, across橫過 the room房間
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使他從床上爬起來,走過房間,
18:03
to recover恢復 the memory記憶 of this music音樂
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就為了喚回這首曲子的記憶。
18:06
that, after everything else其他 in his life is sloughing away,
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在他生活中所已的事物都慢慢流失時,
18:09
still means手段 so much to him?
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這對他來說仍如此重要?
18:11
Well, that's why I take every一切 performance性能 so seriously認真地,
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這就是為什麼我如此嚴肅的看待每一場演出,
18:15
why it matters事項 to me so much.
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為什麼這對我來說這麼重要。
18:17
I never know who might威力 be there, who might威力 be absorbing吸收 it
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我無法知道誰會在現場,誰會將之吸收,
18:20
and what will happen發生 to it in their life.
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已及他們的命運將會如何。
18:22
But now I'm excited興奮 that there's more chance機會 than ever before possible可能
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但是我很興奮,因為從來沒有如現在如此多的機會
18:27
of sharing分享 this music音樂.
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來分享音樂。
18:29
That's what drives驅動器 my interest利益 in projects項目
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這就是為什麼我有興趣參與
18:30
like the TV電視 series系列 "Keeping保持 Score得分了" with the San Francisco弗朗西斯科 Symphony交響樂
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如和舊金山交響樂團合作的"Keeping Score"電視節目,
18:34
that looks容貌 at the backstoriesbackstories of music音樂,
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來探索音樂背後的故事,
18:36
and working加工 with the young年輕 musicians音樂家 at the New World世界 Symphony交響樂
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或是在新世界交響樂團與年輕音樂家合作
18:39
on projects項目 that explore探索 the potential潛在
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開發能運用新演奏廳的潛力
18:41
of the new performing執行 arts藝術 centers中心
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之類的計畫,
18:44
for both entertainment娛樂 and education教育.
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來促進娛樂與教育。
18:47
And of course課程, the New World世界 Symphony交響樂
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當然,新世界交響樂
18:49
led to the YouTubeYouTube的 Symphony交響樂 and projects項目 on the internet互聯網
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衍伸出YouTube交響樂已及其他網路上的計畫,
18:52
that reach達到 out to musicians音樂家 and audiences觀眾 all over the world世界.
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讓世界各地的音樂家及觀眾一同參與。
18:55
And the exciting扣人心弦 thing is all this is just a prototype原型.
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而且令我興奮的昰,這只是雛形而已。
19:00
There's just a role角色 here for so many許多 people --
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這領域有空間讓更多人參與,
19:03
teachers教師, parents父母, performers表演者 --
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老師、家長、演出者,
19:05
to be explorers探險 together一起.
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一起成為探險家。
19:08
Sure, the big events事件 attract吸引 a lot of attention注意,
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沒錯,那些大型活動吸引很多人的目光,
19:11
but what really matters事項 is what goes on every一切 single day.
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但真正重要的是每一天發生的事。
19:14
We need your perspectives觀點, your curiosity好奇心, your voices聲音.
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我們需要你的觀點,你的好奇心,你的聲音。
19:19
And it excites的激勵 me now to meet遇到 people
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而且我也很興奮能夠認識新的朋友,
19:22
who are hikers遠足, chefs廚師, code writers作家, taxi出租車 drivers司機,
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登山客、廚師、程式設計師、計程車司機,
19:25
people I never would have guessed who loved喜愛 the music音樂
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有些我從來沒想過會如此喜愛音樂的人,
19:28
and who are passing通過 it on.
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他們也將音樂傳承下去。
19:29
You don't need to worry擔心 about knowing會心 anything.
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你不需要擔心你什麼都不會。
19:33
If you're curious好奇, if you have a capacity容量 for wonder奇蹟, if you're alive,
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如果你擁有好奇心,如果你能夠接受驚喜,
如果你活著,
19:36
you know all that you need to know.
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你就已知道你所需的所有東西了。
19:40
You can start開始 anywhere隨地. Ramble漫談 a bit.
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你可以從任何地方開始,隨處看看。
19:42
Follow跟隨 traces痕跡. Get lost丟失. Be surprised詫異, amused inspired啟發.
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尋跡而覓,迷路,讓它令你驚訝、會心一笑、感動。
19:46
All that 'what''什麼', all that 'how''怎麼樣' is out there
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有無限的「如何」及「為何」
19:50
waiting等候 for you to discover發現 its 'why''為什麼',
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待你發現它的「為什麼」,
19:53
to dive潛水 in and pass通過 it on.
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來一頭栽進去吧!並一起傳承。
19:56
Thank you.
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謝謝。
19:59
(Applause掌聲)
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(掌聲)
Translated by Anny Chung
Reviewed by Zenan Zhou

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ABOUT THE SPEAKER
Michael Tilson Thomas - Musician, Conductor
Conductor Michael Tilson Thomas (call him MTT) is an all-around music educator -- connecting with global audiences, young musicians and concertgoers in San Francisco and London.

Why you should listen
As a conductor, Michael Tilson Thomas might be best known for his interpretation of the emotionally charged music of Gustav Mahler. But his legacy won't stop at his Grammy-winning recordings of the complete Mahler symphony cycle with his home orchestra, the San Francisco Symphony. He's also the founder of the New World Symphony, an orchestra that helps to educate young and gifted musicians as obsessed with their craft as he. Since its establishment in 1987, New World Symphony has launched the careers of more than 700 young musicians, and in its new Miami Beach concert hall designed by Frank Gehry, it's bringing well-played classical music to a truly popular audience. 
 
He's the guest conductor of the London Symphony Orchestra -- and the artistic director of the YouTube Symphony Orchestra (YTSO), a 96-member ensemble selected from online video auditions. Tilson Thomas conducted the YTSO at Carnegie Hall in 2009 and in 2011 in Sydney, Australia. And he's the creator of the Keeping Score education program for public schools, which uses PBS TV, web, radio and DVDs, and a K-12 curriculum to make classical music more accessible. In 2010, Tilson Thomas was awarded the National Medal of Arts, the highest award given to artists by the US government.

More profile about the speaker
Michael Tilson Thomas | Speaker | TED.com