Stefon Harris: There are no mistakes on the bandstand

159,932 views ใƒป 2011-12-09

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: han soo yeon ๊ฒ€ํ† : InHyuk Song
00:15
Okay, I have no idea what we're going to play.
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์ž, ์ด ์ž๋ฆฌ์—์„œ ์šฐ๋ฆฌ๋Š” ๋ฌด์—‡์„ ์—ฐ์ฃผํ•˜๊ฒŒ ๋ ์ง€ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
00:18
I won't be able to tell you what it is until it happens.
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๊ทธ๋ž˜์„œ ์—ฐ์ฃผ ์ „์—๋Š” ์–ด๋–ค ๊ณก์ด ๋ ์ง€ ๋ง์”€๋“œ๋ฆด ์ˆ˜๊ฐ€ ์—†์„ ๊ฒƒ์ž…๋‹ˆ๋‹ค.
00:21
I didn't realize there was going to be a little music before.
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์˜ˆ์ „์—๋Š” ์–ด๋–ค ์Œ์•…์ด ๋ ๊ฑฐ๋ผ๊ณ  ์ƒ๊ฐํ•˜์ง€ ๋ชปํ–ˆ์Šต๋‹ˆ๋‹ค.
00:24
So I think I'm going to start with what I just heard.
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๊ทธ๋ž˜์„œ ์ œ๊ฐ€ ๊ทธ๋ƒฅ ๋“ค์—ˆ๋˜ ๊ฒƒ์œผ๋กœ ์‹œ์ž‘์„ ํ• ๊นŒ ํ•ฉ๋‹ˆ๋‹ค.
00:26
(Music)
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(์—ฐ์ฃผ)
06:01
(Applause)
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(๋ฐ•์ˆ˜)
06:10
Okay, so first of all,
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์ข‹์Šต๋‹ˆ๋‹ค. ๊ฐ€์žฅ ๋จผ์ €,
06:12
let's welcome Mr. Jamire Williams on the drums,
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๋“œ๋Ÿผ์— ์ œ์ด๋ฏธ ์œŒ๋ฆฌ์—„์Šค๋ฅผ ํ™˜์˜ํ•ด์ฃผ์‹œ์ฃ .
06:15
(Applause)
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(๋ฐ•์ˆ˜)
06:18
Burniss Travis on the bass,
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๋ฒ ์ด์Šค์— ๋ฒ„๋‹ˆ์Šค ํŠธ๋ž˜๋น„์Šค์ž…๋‹ˆ๋‹ค.
06:20
(Applause)
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(๋ฐ•์ˆ˜)
06:22
and Mr. Christian Sands on the piano.
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๊ทธ๋ฆฌ๊ณ  ํ”ผ์•„๋…ธ์— ํฌ๋ฆฌ์Šค์ฑค ์ƒŒ๋“œ ์ž…๋‹ˆ๋‹ค.
06:25
(Applause)
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(๋ฐ•์ˆ˜)
06:28
So the bandstand, as we call it,
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์ž, ์ด๋ฅธ๋ฐ” ์ด ์—ฐ์ฃผ๋Œ€๋ผ๋Š” ๊ณณ์€
06:30
this is an incredible space.
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๋†€๋ผ์šด ๊ณต๊ฐ„์ž…๋‹ˆ๋‹ค.
06:32
It is really a sacred space.
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์ •๋ง ์„ฑ์Šค๋Ÿฌ์šด ๊ณต๊ฐ„์ด์ฃ .
06:34
And one of the things that is really sacred about it
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๊ทธ๋ฆฌ๊ณ  ์ •๋ง ์„ฑ์Šค๋Ÿฌ์šด ๊ฒƒ ์ค‘ ํ•˜๋‚˜๋Š”
06:36
is that you have no opportunity to think about the future,
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์•ž๋‚ ์ด๋‚˜ ์ง€๋‚œ๋‚ ์— ๋Œ€ํ•ด์„œ ์ƒ๊ฐํ•  ๊ฒจ๋ฅผ์ด
06:39
or the past.
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์—†๋‹ค๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:41
You really are alive right here in this moment.
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์ด ์ˆœ๊ฐ„, ๋ฐ”๋กœ ์—ฌ๊ธฐ, ์ •๋ง ์‚ด์•„ ์žˆ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
06:43
There are so many decisions being made
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์—ฐ์ฃผ๋Œ€์—์„œ ์Œ์•…์„ ์—ฐ์ฃผํ•  ๋•Œ,
06:45
when you walk on the bandstand.
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์ˆ˜ ๋งŽ์€ ๊ฒฐ์ •๋“ค์ด ์ด๋ฃจ์–ด์ง‘๋‹ˆ๋‹ค.
06:47
We had no idea what key we were going to play in.
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์šฐ๋ฆฌ๊ฐ€ ๋ฌด์Šจ ์Œ์„ ์—ฐ์ฃผํ•˜๊ฒŒ ๋ ์ง€ ์•Œ์ง€ ๋ชปํ•ฉ๋‹ˆ๋‹ค.
06:50
In the middle, we sort of made our way
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์ค‘๊ฐ„์— ์šฐ๋ฆฌ๋Š” ๋‚˜๋ฆ„์˜ ๋ฐฉ๋ฒ•๋Œ€๋กœ ๊ฐ‘๋‹ˆ๋‹ค
06:52
into a song called "Titi Boom."
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'ํ‹ฐํ‹ฐ ๋ถ'์ด๋ผ๋Š” ๋…ธ๋ž˜๋ฅผ ํ–ฅํ•ด์„œ ๋ง์ด์˜ˆ์š”.
06:54
But that could have happened -- maybe, maybe not.
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๊ทผ๋ฐ ๋ญ ๊ทธ๊ฒƒ๋“ค์€ ์ผ์–ด๋‚  ์ˆ˜๋„ ์žˆ๊ณ --์•ˆ ์ผ์–ด๋‚ ์ˆ˜๋„ ์žˆ์ฃ 
06:57
Everyone's listening. We're responding.
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๋‹ค๋“ค ์„œ๋กœ๋ฅผ ๋“ค์œผ๋ฉด์„œ ๋ฐ˜์‘ํ•ฉ๋‹ˆ๋‹ค
06:59
You have no time for projected ideas.
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๋ฌด์–ธ๊ฐ€๋ฅผ ์˜ˆ์ƒํ•  ์‹œ๊ฐ„์ด ์—†์–ด์ง€๋Š”๊ฑฐ์ฃ .
07:01
So the idea of a mistake:
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๊ทธ๋ž˜์„œ '์‹ค์ˆ˜'๋ผ๋Š” ๊ฐœ๋…์€,
07:04
From the perspective of a jazz musician,
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์žฌ์ฆˆ ์Œ์•…๊ฐ€์˜ ์ธก๋ฉด์—์„œ ๋ณด๋ฉด,
07:06
it's easier to talk about someone else's mistake.
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์ฐจ๋ผ๋ฆฌ ๋‹ค๋ฅธ ์‚ฌ๋žŒ์˜ ์‹ค์ˆ˜๋ฅผ ์ฐพ๋Š” ๊ฒŒ ๋” ์‰ฌ์šด ๊ฒ๋‹ˆ๋‹ค.
07:11
So the way I perceive a mistake when I'm on the bandstand --
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'๋ฐด๋“œ์Šคํƒ ๋“œ'์—์„œ๋Š” ์ œ๊ฐ€ ์‹ค์ˆ˜๋ฅผ ๊ฐ์ง€ํ•˜๋Š” ๋ฐฉ๋ฒ•์€
07:14
first of all, we don't really see it as a mistake.
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๋จผ์ € ์ผ๋‹จ ์ €ํฌ๋Š” ๊ทธ๊ฒƒ์„ ์‹ค์ˆ˜ ์ž์ฒด๋กœ ๋ณด์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
07:16
The only mistake lies
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๋‹จ ํ•˜๋‚˜์˜ ์‹ค์ˆ˜๋Š”,
07:18
in that I'm not able to perceive
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์ œ๊ฐ€ ๋‹ค๋ฅธ ์‚ฌ๋žŒ์ด ํ•œ ๊ฒƒ๋“ค์„
07:20
what it is that someone else did.
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์ธ์‹ํ•˜์ง€ ๋ชปํ–ˆ์„ ๋•Œ, ๊ทธ๊ฒƒ์ด ์‹ค์ˆ˜๋ผ๊ณ  ๋ด…๋‹ˆ๋‹ค.
07:22
Every "mistake" is an opportunity in jazz.
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๋ชจ๋“  "์‹ค์ˆ˜"๋Š” ์žฌ์ฆˆ์— ์žˆ์–ด์„œ ๋˜๋‹ค๋ฅธ ๊ธฐํšŒ์ž…๋‹ˆ๋‹ค.
07:25
So it's hard to even describe
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๊ทธ๋ž˜์„œ ์–ด๋–ค๊ฒƒ์ด '์›ƒ๊ธด ์Œ'์ธ์ง€
07:27
what a funny note would be.
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๋ฌ˜์‚ฌํ•˜๋Š” ๊ฒƒ๋„ ํž˜๋“ญ๋‹ˆ๋‹ค.
07:29
So for example, if I played a color, like we were playing on a palette,
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์˜ˆ๋ฅผ ๋“ค์–ด์„œ, ํŒ”๋ ˆํŠธ์— ์žˆ๋Š” ์ƒ‰๊น”๋“ค์„ ์—ฐ์ฃผํ•œ๋‹ค๊ณ  ํ•˜๋ฉด
07:32
that sounded like this ...
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์ด๋Ÿฐ๊ฒƒ์ฒ˜๋Ÿผ...
07:34
(Music)
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(์—ฐ์ฃผ)
07:36
So if Christian played a note -- like play an F.
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์ด๋•Œ ํฌ๋ฆฌ์Šค์ฑค์ด F์Œ์„ ์—ฐ์ฃผํ•œ๋‹ค๋ฉด
07:39
(Music)
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(์—ฐ์ฃผ)
07:41
See, these are all right inside of the color palette.
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๋ณด์„ธ์š”, ์šฐ๋ฆฌ ์ƒ‰๊น”๋“ค์•ˆ์— ์ž˜ ๋“ค์–ด๊ฐ€์ž–์•„์š”.
07:44
If you played an E.
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๋งŒ์•ฝ E๋ฅผ ์—ฐ์ฃผํ•œ๋‹ค๊ณ  ํ•˜๋ฉด,
07:47
See, these all lie right inside
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์ด๊ฒƒ๋„ ์šฐ๋ฆฌ๊ฐ€ ๊ทธ๋ฆฌ๋Š” ๋‹ค์–‘ํ•œ ๊ฐ์ •๋“ค์˜
07:49
of this general emotional palette that we were painting.
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์ƒ‰๋“ค์— ์ž์—ฐ์Šค๋Ÿฝ๊ฒŒ ๋“ค์–ด ๋งž์ฃ .
07:51
If you played an F# though,
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๊ทธ๋Ÿฐ๋ฐ ๋งŒ์•ฝ F#์„ ์—ฐ์ฃผ ํ•œ๋‹ค๋ฉด,
07:53
(Dissonance)
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(๋ถˆํ˜‘ํ™”์Œ)
07:57
to most people's ears, they would perceive that as a mistake.
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๊ฑฐ์˜ ๋Œ€๋ถ€๋ถ„์˜ ์‚ฌ๋žŒ๋“ค์—๊ฒ, ์ด๊ฒƒ์ด ์‹ค์ˆ˜์ฒ˜๋Ÿผ ์—ฌ๊ฒจ์งˆ ๊ฒ๋‹ˆ๋‹ค.
08:00
So I'm going to show you, we're going to play just for a second.
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๊ทธ๋ž˜์„œ ์ €ํฌ๋Š” ์ž ๊น ๋™์•ˆ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
08:02
And we're going to play on this palette.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ์ด ์ƒ‰๋“ค์„ ๊ฐ€์ง€๊ณ  ์—ฐ์ฃผ ํ•  ๊ฒ๋‹ˆ๋‹ค.
08:04
And at some point, Christian will introduce this note.
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์•„๋งˆ ์–ด๋–ค ๋ถ€๋ถ„์—์„œ ํฌ๋ฆฌ์Šค์ฑค์€ ์ด ์Œ์„ ์—ฐ์ฃผ ํ•  ๊ฒ๋‹ˆ๋‹ค.
08:06
And we won't react to it.
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๊ทธ๋ฆฌ๊ณ  ์šฐ๋ฆฌ๋Š” ๊ทธ๊ฒƒ์— ๋ฐ˜์‘ํ•˜์ง€ ์•Š๋„๋ก ํ•ด ๋ณด๊ฒ ์Šต๋‹ˆ๋‹ค.
08:08
He'll introduce it for a second
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์•„๋งˆ ๋ช‡ ์ดˆ ๋™์•ˆ ์—ฐ์ฃผ ํ•  ๊ฒ๋‹ˆ๋‹ค.
08:10
and then I'll stop, I'll talk for a second.
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๊ทธ๋ฆฌ๊ณ  ์ œ๊ฐ€ ๋ฉˆ์ถ”๋ฉด, ์ œ๊ฐ€ ๋ช‡์ดˆ ๋™์•ˆ ๋งํ•˜๊ณ ์š”.
08:12
We'll see what happens when we play with this palette.
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์ด๋ ‡๊ฒŒ ์—ฐ์ฃผ ํ•˜๋ฉด ์–ด๋–ป๊ฒŒ ๋˜๋‚˜ ํ•œ๋ฒˆ ์ง€์ผœ๋ด…์‹œ๋‹ค.
08:14
(Music)
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(์—ฐ์ฃผ)
08:39
So someone could conceptually perceive that as a mistake.
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๊ทธ๋ž˜์„œ ๋ˆ„๊ตฐ๊ฐ€๋Š” ์ด๊ฒƒ์„ ์‹ค์ˆ˜๋กœ ๋ณผ ๊ฒ๋‹ˆ๋‹ค.
08:43
The only way that I would say it was a mistake
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์šฐ๋ฆฌ๊ฐ€ ๊ทธ๊ฒƒ์„ ์‹ค์ˆ˜๋ผ๊ณ  ๋งํ•˜๋Š” ์˜ค์ง ํ•œ๊ฐ€์ง€
08:45
is in that we didn't react to it.
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๋ฐฉ๋ฒ•์€, ๊ทธ๊ฒƒ์— ์•„์˜ˆ ๋ฐ˜์‘ ํ•˜์ง€ ์•Š๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:47
It was an opportunity that was missed.
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๊ทธ๊ฑด ๋น—๋‚˜๊ฐ„ ์‹ค์ˆ˜์˜€๋˜๊ฑฐ์ฃ .
08:49
So it's unpredictable. We'll paint this palette again.
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๊ทธ๋ž˜์„œ ์˜ˆ์ธกํ•  ์ˆ˜ ์—†๋‹ค๋Š” ๊ฑฐ์ฃ . ๋‹ค์‹œ ํ•œ๋ฒˆ ์—ฐ์ฃผํ•ด๋ณด์ฃ .
08:52
He'll play it. I don't know how we'll react to it, but something will change.
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๊ทธ๊ฐ€ ์—ฐ์ฃผ ํ•  ๊ฒƒ์ด๊ณ  ์šฐ๋ฆฌ๊ฐ€ ์–ด๋–ป๊ฒŒ ๋ฐ˜์‘ํ•  ๊ฑด์ง€ ๋ชจ๋ฅด๊ฒ ์ง€๋งŒ, ๋ฌด์–ธ๊ฐ€๊ฐ€ ๋ฐ”๋€” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
08:55
We'll all accept his ideas,
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์šฐ๋ฆฌ ๋ชจ๋‘ ๊ทธ์˜ ์—ฐ์ฃผ๋ฅผ ๋ฐ›์•„๋“ค์ผ ๊ฒ๋‹ˆ๋‹ค.
08:57
or not.
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๋˜๋Š” ๋ฐ›์•„๋“ค์ด์ง€ ์•Š๊ตฌ์š”
08:59
(Music)
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(์—ฐ์ฃผ)
10:08
So you see, he played this note.
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๋ณด์…จ์ฃ . ๊ทธ๊ฐ€ ์ด ์Œ์„ ์—ฐ์ฃผ ํ–ˆ์Šต๋‹ˆ๋‹ค.
10:10
I ended up creating a melody out of it.
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๊ทผ๋ฐ ์ €ํฌ๊ฐ€ ๊ทธ๊ฒƒ์—์„œ ๋ฉœ๋กœ๋””๋ฅผ ๋„์ถœํ•ด ๋ƒˆ์Šต๋‹ˆ๋‹ค.
10:12
The texture changed in the drums this time.
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์ด๋ฒˆ์—๋Š” ๋“œ๋Ÿผ์—์„œ ๋Š๋‚Œ์ด ๋ฐ”๋€Œ์—ˆ์Šต๋‹ˆ๋‹ค.
10:14
It got a little bit more rhythmic, a little bit more intense
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๋” ๋ฆฌ๋“ฌ์žˆ๊ณ , ๊ฐ•๋ ฌํ•˜๊ฒŒ ๋ฐ”๋€Œ์—ˆ์ฃ .
10:17
in response to how I responded to it.
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์ œ๊ฐ€ ๊ทธ๊ฒƒ์— ์–ด๋–ป๊ฒŒ ๋ฐ˜์‘ํ•˜๋Š”์ง€์— ๋”ฐ๋ผ์„œ ๋ง์ด์˜ˆ์š”.
10:19
So there is no mistake.
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์ด๋ž˜์„œ ์‹ค์ˆ˜๋ผ๋Š” ๊ฒƒ์€ ์—†๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
10:21
The only mistake is if I'm not aware,
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๋‹จ ํ•˜๋‚˜์˜ ์‹ค์ˆ˜๋Š”, ๋งŒ์–€ ์ œ๊ฐ€ ์•Œ์•„์ฐจ๋ฆฌ์ง€ ๋ชปํ•œ๋‹ค๋ฉด,
10:23
if each individual musician is not aware
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๊ฐ๊ฐ์˜ ์—ฐ์ฃผ์ž๊ฐ€ ์•Œ์ง€ ๋ชปํ•œ๋‹ค๋ฉด,
10:25
and accepting enough of his fellow band member
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๊ทธ๋ฆฌ๊ณ  ๋ฐด๋“œ ๋ฉค๋ฒ„๋“ค์ด ์•„์ด๋””์–ด๋ฅผ ํ†ตํ•ฉํ•˜๋Š”๋ฐ ์žˆ์–ด์„œ ์„œ๋กœ๋ฅผ
10:29
to incorporate the idea and we don't allow for creativity.
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์ฐฝ์˜๋ ฅ ์—†์ด ๋ฐ›์•„๋“ค์ธ ๋‹ค๋ฉด ๊ทธ๊ฒŒ ์‹ค์ˆ˜ ์ธ ๊ฑฐ์ฃ .
10:32
So jazz, this bandstand is absolutely amazing.
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๊ทธ๋ž˜์„œ ์žฌ์ฆˆ๋Š”, '๋ฐด๋“œ ์Šคํƒ ๋“œ'๋Š” ์ •๋ง ๋†€๋ผ์šด ๊ฒ๋‹ˆ๋‹ค.
10:36
It's a very purifying experience.
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์ •๋ง ์ˆœ์ˆ˜ํ•œ ๊ฒฝํ—˜์ž…๋‹ˆ๋‹ค.
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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์šฐ๋ฆฌ๊ฐ€ ์‹ค์ˆ˜๋ฅผ ์ „ํ˜€ ๊ฐœ์˜์น˜ ์•Š๋Š”๋‹ค๋Š” ๊ฒƒ์„ ๋งํ• ๋•Œ ๊ทธ๊ฒƒ์€ ์—ฌ๊ธฐ ๋ชจ๋‘ํ•œํ…Œ ํ•œ ๋ง์ž…๋‹ˆ๋‹ค.
10:41
We know that to be able to come on the bandstand and play music is a blessing.
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์šฐ๋ฆฌ๋Š” '๋ฐด๋“œ์Šคํƒ ๋“œ'์˜ ์ผ์›์ด ๋˜์–ด ์Œ์•…์„ ์—ฐ์ฃผํ•œ๋‹ค๋Š” ๊ฒƒ์ด ์ •๋ง ํฐ ์ถ•๋ณต์ด๋ผ๊ณ  ๋ฏฟ์Šต๋‹ˆ๋‹ค.
10:45
So how does this all relate to behavioral finance?
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๊ทผ๋ฐ ์ด๊ฒŒ ์–ด๋–ป๊ฒŒ ์žฌ์ •๊ณผ ๊ด€๋ จ์ด ๋ ๊นŒ์š”? (์•Œ๋ฆฌ์•ˆ์ธ ์—์„œ ์ง„ํ–‰๋œ ํ–‰์‚ฌ์ž„)
10:48
Well we're jazz musicians,
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์šฐ๋ฆฌ๋Š” ๋ชจ๋‘ ์žฌ์ฆˆ ์Œ์•…๊ฐ€ ์ž…๋‹ˆ๋‹ค.
10:50
so stereotypically we don't have a great relationship to finance.
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๊ทธ๋ž˜์„œ ์ง„๋ถ€ํ•˜์ง€๋งŒ ์ €ํฌ๋Š” ๋ˆ๊ณผ ์ธ์—ฐ์ด ์—†์Šต๋‹ˆ๋‹ค.
10:52
(Laughter)
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(์›ƒ์Œ)
10:55
Anyway, I just wanted to sort of point out the way that we handle it.
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์–ด์Ÿ€๋“ , ์ „ ์šฐ๋ฆฌ๊ฐ€ ์‹ค์ˆ˜๋ฅผ ์–ด๋–ป๊ฒŒ ๋Œ€์ฒ˜ํ•˜๋Š”์ง€์— ๋Œ€ํ•ด ๋งํ•ด์ฃผ๊ณ  ์‹ถ์—ˆ์Šต๋‹ˆ๋‹ค.
10:58
And the other dynamic of it
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๊ทธ๋ฆฌ๊ณ  ๋˜ ๋‹ค๋ฅธ ๊ฒƒ์€,
11:00
is that we don't micromanage in jazz.
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์šฐ๋ฆฌ๋Š”, ์—ฐ์ฃผํ•  ๋•Œ ์„ธ์„ธํ•œ ๊ฒƒ๊นŒ์ง€ ์‹ ๊ฒฝ์“ฐ์ง€ ์•Š์Šต๋‹ˆ๋‹ค.
11:03
You have some people who do.
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๊ทธ๋ƒฅ ๊ทธ๊ฒƒ์„ ํ•˜๋Š” ๋ˆ„๊ตฐ๊ฐ€๊ฐ€ ์žˆ์„ ๋ฟ์ž…๋‹ˆ๋‹ค
11:05
But what that does
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๊ทธ๋Ÿฐ๋ฐ ๊ทธ๋ ‡๊ฒŒ ์„ธ์„ธํ•˜๊ฒŒ ์‹ ๊ฒฝ์„ ์“ฐ๋‹ค๋ณด๋ฉด
11:07
is it actually limits the artistic possibilities.
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์˜ˆ์ˆ ์  ๊ฐ€๋Šฅ์„ฑ์„ ์ œํ•œํ•˜๊ฒŒ ๋ฉ๋‹ˆ๋‹ค.
11:09
If I come up and I dictate to the band
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์ œ๊ฐ€ ๋งŒ์•ฝ ๋ฌด๋Œ€์— ์˜ฌ๋ผ์™€์„œ ๋ฐด๋“œ๋ฅผ ์ง€์‹œํ•œ๋‹ค๋ฉด
11:12
that I want to play like this and I want the music to go this way,
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๋‚œ ์ด๋ ‡๊ฒŒ ํ•˜๊ณ  ์‹ถ๊ณ  ์—ฐ์ฃผ๊ฐ€ ์ด๋Ÿฐ ๋ฐฉํ–ฅ์œผ๋กœ ํ˜๋Ÿฌ๊ฐ”์œผ๋ฉด ํ•˜๊ณ 
11:14
and I just jump right in ...
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๊ทธ๋ ‡๊ฒŒ ์‹œ์ž‘ํ•ด ๋ฒ„๋ฆฌ๋ฉด,
11:16
ready, just play some time.
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์ค€๋น„, ์–ด๋–ป๊ฒŒ ๋˜๋Š”์ง€ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
11:18
One, two, one, two, three, four.
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ํ•˜๋‚˜ ๋‘˜ ํ•˜๋‚˜ ๋‘˜ ์…‹๋„ท
11:20
(Music)
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(์—ฐ์ฃผ)
11:32
It's kind of chaotic because I'm bullying my ideas.
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์ œ๊ฐ€ ์ œ ์•„์ด๋””์–ด๋ฅผ ๊ฐ•์š”ํ•˜๊ธฐ ๋•Œ๋ฌธ์— ์ข€ ํ˜ผ๋™์Šค๋Ÿฌ์›Œ ์ง‘๋‹ˆ๋‹ค.
11:34
I'm telling them, "You come with me over this way."
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์ œ๊ฐ€ ๊ทธ๋“ค์—๊ฒŒ "๋„Œ ์ด๋ ‡๊ฒŒ ๋‚˜๋ฅผ ๋”ฐ๋ผ์™€"๋ผ๊ณ  ํ•˜๊ณ 
11:36
If I really want the music to go there,
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๋งŒ์•ฝ ์ •๋ง๋กœ ์Œ์•…์ด ๊ทธ๋Ÿฐ ๋ฐฉํ–ฅ์œผ๋กœ ํ˜๋Ÿฌ๊ฐ€๊ฒŒ ๋‚˜๋‘”๋‹ค๋ฉด,
11:38
the best way for me to do it is to listen.
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์ €๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ๊ฐ€์žฅ ์ข‹์€ ๋ฐฉ๋ฒ•์€ ๊ทธ๋ƒฅ ๋“ฃ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
11:40
This is a science of listening.
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์ด๊ฒƒ์€ ๊ทธ๋ƒฅ ๋ง ๊ทธ๋Œ€๋กœ ๋“ฃ๊ธฐ๋งŒ ํ•˜๋Š” ๊ฑฐ์ฃ .
11:42
It has far more to do with what I can perceive
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์ œ๊ฐ€ ์ธ์ง€ํ•˜๊ณ  ์žˆ๋Š” ๊ฒƒ์„ ์—ฐ์ฃผ ํ•˜๋Š” ๊ฒƒ์ด
11:44
than what it is that I can do.
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์ œ๊ฐ€ ํ•  ์ˆ˜ ์žˆ๋Š” ์–ด๋–ค๊ฒƒ์„ ์—ฐ์ฃผํ•˜๋Š” ๊ฒƒ๋ณด๋‹ค ๋‚ซ๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค,
11:46
So if I want the music to get to a certain level of intensity,
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๊ทธ๋ž˜์„œ ๋งŒ์•ฝ ์ œ๊ฐ€ ์—ฐ์ฃผ์— ์ผ์ • ์ •๋„์˜ ๊ฐ•๋„๋ฅผ ์›ํ•œ๋‹ค๋ฉด,
11:49
the first step for me is
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์ œ๊ฐ€ ํ•  ๊ฐ€์žฅ ์ฒซ๋ฒˆ ์งธ ์ผ์€,
11:51
to be patient, to listen to what's going on
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์ธ๋‚ดํ•˜๊ณ  ์ œ ์ฃผ๋ณ€์— ์ƒํ™ฉ์ด ์–ด๋–ป๊ฒŒ ๊ฐ€๋Š”์ง€ ๋“ค์–ด๋ณด๊ณ 
11:53
and pull from something that's going on around me.
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์ฃผ๋ณ€์˜ ๊ฒƒ๋“ค๋กœ๋ถ€ํ„ฐ ๋ฌด์–ธ๊ฐ€๋ฅผ ๋„์ถœํ•ด ๋‚ด๋ ค๊ณ  ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
11:56
When you do that, you engage and inspire the other musicians
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๊ทธ๋ ‡๊ฒŒ ํ•œ๋‹ค๋ฉด, ๋‹น์‹ ์€ ๋‹ค๋ฅธ ๋ฎค์ง€์„ ๋“ค์„ ๊ณ ์ทจ์‹œํ‚ฌ์ˆ˜ ์žˆ๊ณ 
11:59
and they give you more, and gradually it builds.
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๊ทธ๋“ค ๋˜ํ•œ ๋‹น์‹ ์„ ๊ณ ์ทจ์‹œํ‚ค๊ณ .. ๊ทธ๋ ‡๊ฒŒ ์ ์ฐจ ์ ์ฐจ ๋˜๋Š” ๊ฑฐ์ฃ .
12:01
Watch. One, two, a one, two, three, four.
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๋ณด์„ธ์š”. ํ•˜๋‚˜ ๋‘˜, ํ•˜๋‚˜๋‘˜์…‹๋„ท
12:04
(Music)
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(์—ฐ์ฃผ)
12:44
Totally different experience when I'm pulling ideas.
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์ œ๊ฐ€ ์ฃผ๋ณ€์—์„œ ์•„์ด๋””์–ด๋ฅผ ๋„์ถœํ•ด ๋‚ด๋ฉด ์™„์ „ํžˆ ๋‹ฌ๋ผ์ง€์ฃ .
12:47
It's much more organic. It's much more nuanced.
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์ข€ ๋” ์ƒ์ƒํ•˜๊ณ  ๋ฏธ๋ฌ˜ํ•˜๊ฒŒ ๋‹ค๋ฅด์ฃ .
12:49
It's not about bullying my vision or anything like that.
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์ œ ์ƒ๊ฐ์„ ๊ฐ•์š”ํ•˜๊ณ  ๊ทธ๋Ÿฐ ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
12:51
It's about being here in the moment,
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๊ทธ๋ƒฅ ์ง€๊ธˆ ์ด ์ˆœ๊ฐ„์— ์กด์žฌํ•˜๋Š” ๊ฒƒ์ด๊ณ 
12:53
accepting one another
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์„œ๋กœ๋ฅผ ๋ฐ›์•„๋“ค์ด๋ฉฐ
12:55
and allowing creativity to flow.
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๋…์ฐฝ์ ์ธ ํ๋ฆ„์„ ๋งŒ๋“ค์–ด๋‚ด๋ฉด ๋˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
12:57
Thank you.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
12:59
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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