|
|
StefonHarris_2011S-_演奏台上没有错误_
|
| Okay, I have no idea what we're going to play. |
好吧 我也不知道我们马上会演奏什么 |
|
I have no idea:我没有头绪…;
|
| I won't be able to tell you what it is until it happens. |
在演奏开始前我也没法告诉你们今天的曲目 |
| I didn't realize there was going to be a little music before. |
我也不知道演奏前会有段音乐 |
| So I think I'm going to start with what I just heard. |
那就用我刚刚听到的音乐开场吧 |
| (Music) |
（音乐） |
| (Applause) |
（掌声） |
| Okay, so first of all , let's welcome Mr. Jamire Williams on the drums, |
好的 首先 让我们欢迎鼓手杰迈尔?威廉姆斯先生 |
|
first of all:adv.首先;
|
| (Applause) |
（掌声） |
| Burniss Travis on the bass , |
贝斯手贝尔尼斯?特拉维斯 |
|
bass:n.鲈鱼;男低音;低音部;椴树;adj.低音的;
|
| (Applause) |
（掌声） |
| and Mr. Christian Sands on the piano. |
还有钢琴手克里斯蒂安?桑滋 |
| (Applause) |
（掌声） |
| So the bandstand , as we call it, this is an incredible space. |
我们称之为的演奏台 是个不可思议的地方 |
|
bandstand:n.音乐台;演奏台; incredible:adj.难以置信的,惊人的;
|
| It is really a sacred space. |
是个神圣的地方 |
| And one of the things that is really sacred about it is that you have no opportunity to think about the future, or the past. |
之所以神圣是因为 你无法思考未来 或者过去 |
| You really are alive right here in this moment. |
你真切地活在当下 |
| There are so many decisions being made when you walk on the bandstand. |
当你走上演奏台 你就要作很多决定 |
| We had no idea what key we were going to play in. |
我们不知道既定曲目 |
| In the middle, we sort of made our way into a song called " Titi Boom ." |
在演奏中我们揉合进了 一首叫“Titi Boom”的曲子 |
|
Titi:n.伶猴;灰鹱;沼泽鞣木; Boom:n.繁荣;吊杆;v.激增;繁荣昌盛;轰鸣;轰响;adj.(美)猛涨起来的;
|
| But that could have happened -- maybe, maybe not. |
但这个也是说不准的事 |
| Everyone's listening. We're responding . |
每个人都在听 都在回应 |
|
responding:v.响应;作出反应;反应灵敏;(respond的现在分词)
|
| You have no time for projected ideas. |
没有时间留给预期的想法 |
| So the idea of a mistake: |
所谓的失误: |
| From the perspective of a jazz musician, it's easier to talk about someone else's mistake. |
从一个爵士乐手来看 谈论其他人的失误比较容易些 |
|
perspective:n.观点;远景;透视图;adj.透视的;
|
| So the way I perceive a mistake when I'm on the bandstand -- first of all, we don't really see it as a mistake. |
当我站在演奏台上 我对错误的理解是－ 首先 我们并不把它看成一个失误 |
|
perceive:v.注意到;意识到;将…理解为;认为;
|
| The only mistake lies in that I'm not able to perceive what it is that someone else did. |
除非 我不能指出 别人的失误 |
| Every "mistake" is an opportunity in jazz. |
爵士乐里每一个“失误”都是一次机会 |
| So it's hard to even describe what a funny note would be. |
所以要找出一个弹错的音 并不容易 |
|
describe:v.描述;形容;把…称为;画出…图形;
|
| So for example, if I played a color, like we were playing on a palette , that sounded like this ... |
比如 如果我现在从低音谈到高音 就像我们刚刚那样 听起来就是... |
|
palette:n.调色板;颜料;
|
| (Music) |
（音乐） |
| So if Christian played a note -- like play an F. |
如果克里斯蒂安弹出F调 |
| (Music) |
（音乐） |
| See, these are all right inside of the color palette. |
那么这一段小调听起来还不错 |
| If you played an E. |
如果是E调 |
| See, these all lie right inside of this general emotional palette that we were painting. |
听起来也挺好 和整体的调子协调 |
|
emotional:adj.情绪的;易激动的;感动人的;
|
| If you played an F# though, |
但是如果加入升F调 |
| (Dissonance) |
（不和谐音） |
| to most people's ears, they would perceive that as a mistake. |
对大部分人来说这就是个错误 |
| So I'm going to show you, we're going to play just for a second. |
那么我来演示一下 我们快速弹奏一下 |
| And we're going to play on this palette. |
我们会弹这个调子 |
| And at some point, Christian will introduce this note. |
然后克里斯蒂安就加入这个音 |
| And we won't react to it. |
我们不去应和它 |
|
react:v.起反应;回应;(对食物等)有不良反应,过敏;起化学反应;
|
| He'll introduce it for a second and then I'll stop, I'll talk for a second. |
他将展示一下 然后我会停下来 说明一下 |
| We'll see what happens when we play with this palette. |
让我们看看这段调子会是怎样的 |
| (Music) |
（音乐） |
| So someone could conceptually perceive that as a mistake. |
有人会把这个理解为失误 |
|
conceptually:adv.概念地;
|
| The only way that I would say it was a mistake is in that we didn't react to it. |
而我的理解是说它是个失误 只是因为我们没有去回应它 |
| It was an opportunity that was missed. |
这是个错失的机会 |
| So it's unpredictable . We'll paint this palette again. |
所以演奏是捉摸不定的事 我们会再弹奏这段调子 |
|
unpredictable:adj.不可预知的;不定的;出乎意料的;n.不可预言的事;
|
| He'll play it. I don't know how we'll react to it, but something will change. |
他弹奏这调子 我也不知道我会怎样去回应 但是肯定会有变化 |
| We'll all accept his ideas, or not. |
我们将接受他的想法 但也不一定 |
| (Music) |
（音乐） |
| So you see, he played this note. |
那么 他弹奏了这段调子 |
| I ended up creating a melody out of it. |
我借此创作了一段旋律 |
|
melody:n.旋律;歌曲;美妙的音乐;
|
| The texture changed in the drums this time. |
这次鼓手的演奏改变了旋律的感觉 |
|
texture:n.质地;纹理;结构;本质,实质;
|
| It got a little bit more rhythmic , a little bit more intense in response to how I responded to it. |
加入了更多节奏 更加紧凑 我们之间相互呼应 |
|
rhythmic:adj.[生物]有节奏的(等于rhythmical); n.韵律论(等于rhythmics); intense:adj.强烈的;紧张的;非常的;热情的; in response to:响应;回答;对…有反应; responded:v.回答,回应;作出反应;响应;反应灵敏;(respond的过去式和过去分词)
|
| So there is no mistake. |
这样就没有失误了 |
| The only mistake is if I'm not aware, if each individual musician is not aware and accepting enough of his fellow band member to incorporate the idea and we don't allow for creativity. |
除非我没有去回应 其他乐手也没有回应 并没有接受乐队同伴的想法 而抹杀了创新 |
|
individual:n.个人;有个性的人;adj.单独的;个别的; incorporate:vt.包含,吸收; vi.合并; adj.合并的;
|
| So jazz, this bandstand is absolutely amazing. |
所以在爵士乐里 演奏台非常不可思议 |
|
absolutely:adv.绝对地;完全地;
|
| It's a very purifying experience. |
这是个很纯粹的体验 |
|
purifying:n.净化;精制;v.使纯净;精炼(purify的ing形式);
|
| And I know that I speak for all of us when I tell you that we don't take it for granted . |
我在此代表所有乐队成员说出这个观点 我们很珍视它 |
|
speak for:要求得到;代表…讲话; take it for granted:认为理所当然;想当然;
|
| We know that to be able to come on the bandstand and play music is a blessing. |
我们能同台演奏是一种福气 |
| So how does this all relate to behavioral finance ? |
那么这个跟行为金融学是什么关系呢？ |
|
behavioral:adj.行为的; finance:n.财政,财政学;金融;v.负担经费,供给…经费;
|
| Well we're jazz musicians, so stereotypically we don't have a great relationship to finance. |
我们是爵士乐手 所以大家都觉得我们跟金融不是一条路上的 |
|
stereotypically:典型地;带有成见地;
|
| (Laughter) |
（笑声） |
| Anyway, I just wanted to sort of point out the way that we handle it. |
不管怎么说 我想说的就是我们看待它的看法 |
|
handle:n.[建]把手;柄;手感;口实;v.处理;操作;运用;买卖;触摸;
|
| And the other dynamic of it is that we don't micromanage in jazz. |
它的动态性就像 我们在爵士乐里不进行微观管理 |
|
dynamic:n.动力; adj.充满活力的; micromanage:v.微观管理;
|
| You have some people who do. |
有些人会这么做 |
| But what that does is it actually limits the artistic possibilities. |
但是这会 限制乐手的艺术潜能 |
|
artistic:adj.艺术的;风雅的;有美感的;
|
| If I come up and I dictate to the band that I want to play like this and I want the music to go this way, and I just jump right in ... |
如果我只跟乐队说 我想这么演奏 我想让音乐这么走 然后我就立刻开始 |
|
dictate:v.决定;口述;支配;强行规定;n.规定;命令;
|
| ready, just play some time. |
准备好了 就弹奏一会儿 |
| One, two, one, two, three, four. |
一,二,一二三四 |
| (Music) |
（音乐） |
| It's kind of chaotic because I'm bullying my ideas. |
这就有点嘈杂 因为我在滥施我自己的想法 |
|
chaotic:adj.混沌的;混乱的,无秩序的; bullying:n.仗势欺人者;横行霸道者;v.恐吓;伤害;胁迫;(bully的现在分词)
|
| I'm telling them, "You come with me over this way." |
我跟他们讲:“你得跟着我走。” |
| If I really want the music to go there, the best way for me to do it is to listen. |
如果我真想让他们跟着我走 最好方法就是倾听 |
| This is a science of listening. |
这是个倾听的学问 |
| It has far more to do with what I can perceive than what it is that I can do. |
我能感受到的 比我能做的更加重要 |
| So if I want the music to get to a certain level of intensity , the first step for me is to be patient , to listen to what's going on and pull from something that's going on around me. |
如果我想让音乐更紧张 首先我要做的 是耐心 要先倾听 然后再演绎 |
|
intensity:n.强度;强烈;[电子]亮度;紧张; patient:adj.有耐心的,能容忍的;n.病人;患者;
|
| When you do that, you engage and inspire the other musicians and they give you more, and gradually it builds. |
当你这样做的时候 你会启发其他乐手 当他们积极回应 音乐就浑然天成了 |
|
engage:v.吸引,占用;使参加;雇佣;使订婚;预定; inspire:v.激发;鼓舞;启示;产生;使生灵感; gradually:adv.渐渐地;逐步地;
|
| Watch. One, two, a one, two, three, four. |
展示一下 一,二,一二三四 |
| (Music) |
（音乐） |
| Totally different experience when I'm pulling ideas. |
当我这样引导想法的话 就是完全不一样的效果 |
| It's much more organic . It's much more nuanced . |
非常有组织的 更多微妙的细节处理 |
|
organic:adj.有机的;不使用化肥的;绿色的;有机物的;n.分子有机体; nuanced:adj.微妙的; v.精确细腻地表演;
|
| It's not about bullying my vision or anything like that. |
而不是把我的想法强加给别人 |
|
vision:n.视力;美景;幻象;想象力;v.想象;显现;梦见;
|
| It's about being here in the moment, accepting one another and allowing creativity to flow. |
我们得在那一刻 接纳别人 并让创造力源源不绝地流动 |
| Thank you. |
谢谢 |
| (Applause) |
（掌声） |