How architecture helped music evolve | David Byrne

497,800 views ・ 2010-06-11

TED


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翻译人员: Lili Marleen 校对人员: Zhu Jie
00:16
This is the venue
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就是这个地方
00:18
where, as a young man,
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那时我还年轻
00:20
some of the music that I wrote was first performed.
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我的音乐首演就是在这里
00:23
It was, remarkably,
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特别强调一下,这是一个
00:25
a pretty good sounding room.
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声音效果非常棒的房间
00:27
With all the uneven walls and all the crap everywhere,
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墙面凹凸不平,到处都是垃圾
00:29
it actually sounded pretty good.
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它的音效实际上却非常不错
00:31
This is a song that was recorded there.
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这首歌就是在那里录制的
00:34
(Music)
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(音乐)
00:36
This is not Talking Heads,
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不过照片里的
00:39
in the picture anyway.
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还不是传声头像(著名摇滚乐队)
00:41
(Music: "A Clean Break (Let's Work)" by Talking Heads)
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(音乐:"A Clean Break (Let's Work)" 传声头像)
00:49
So the nature of the room
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这房间的结构
00:51
meant that words could be understood.
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让吐字变得易于理解
00:53
The lyrics of the songs could be pretty much understood.
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歌词很容易听清
00:55
The sound system was kind of decent.
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音响系统相当不错
00:58
And there wasn't a lot of reverberation in the room.
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房间里的混响也不太大
01:01
So the rhythms
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因此旋律
01:03
could be pretty intact too,
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保存得相当完好
01:05
pretty concise.
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相当凝练
01:07
Other places around the country had similar rooms.
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国内还有很多地方有这样的房间
01:09
This is Tootsie's Orchid Lounge in Nashville.
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这是纳什维尔的Tootsie's Orchid Lounge
01:12
The music was in some ways different,
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这里的音乐有些不同
01:14
but in structure and form,
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但结构和形式
01:17
very much the same.
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却很相似
01:19
The clientele behavior was very much the same too.
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客人的行为习惯也很类似
01:24
And so the bands at Tootsie's
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因此在Tootsie's和
01:26
or at CBGB's
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CBGB(纽约传奇摇滚音乐俱乐部)里表演的乐队
01:28
had to play loud enough --
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都必须演奏得非常大声——
01:31
the volume had to be loud enough to overcome
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音量要大得足以压过
01:33
people falling down, shouting out
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人们跌倒、大吼大叫
01:35
and doing whatever else they were doing.
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或者发出的其他声音
01:37
Since then, I've played other places
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在那以后,我还在其他
01:39
that are much nicer.
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更高级的场所表演过
01:41
I've played the Disney Hall here
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我在这里的迪斯尼音乐厅
01:44
and Carnegie Hall and places like that.
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或是卡内基音乐厅之类的地方演奏过
01:47
And it's been very exciting.
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都是激动人心的经历
01:49
But I also noticed that sometimes the music
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但我也发现,有时候
01:51
that I had written,
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我之前
01:53
or was writing at the time,
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或是当时谱写的歌曲
01:55
didn't sound all that great
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在其中的一些音乐厅
01:57
in some of those halls.
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表现得并不理想
01:59
We managed,
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我们尽量做了调整
02:01
but sometimes those halls didn't seem exactly suited
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但有些时候,那些地方
02:04
to the music I was making
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和我创作的音乐
02:06
or had made.
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就是显得不太协调
02:08
So I asked myself:
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我问自己
02:10
Do I write stuff
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我是不是在为着什么特定的场所
02:11
for specific rooms?
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进行创作呢?
02:13
Do I have a place, a venue,
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在我创作时,脑海中
02:15
in mind when I write?
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是不是有一个地点、一个场所呢?
02:17
Is that a kind of model for creativity?
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这算不算是一种创作模式呢?
02:19
Do we all make things with
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我们创作时是不是
02:21
a venue, a context, in mind?
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脑海中都有着某个场所、某个情境?
02:25
Okay, Africa.
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好了,这是非洲
02:27
(Music: "Wenlenga" / Various artists)
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(音乐: "Wenlenga" / 多名艺术家)
02:34
Most of the popular music that we know now
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当今我们所知的大部分流行音乐
02:37
has a big part of its roots in West Africa.
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有很大一部分是源于西非的
02:40
And the music there,
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而这里的音乐
02:42
I would say, the instruments,
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要我说,这乐器
02:44
the intricate rhythms,
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这复杂的节奏
02:46
the way it's played, the setting, the context,
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演奏的方式,背景,情境
02:49
it's all perfect. It all works perfect.
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一切都很完美,协调得天衣无缝
02:51
The music works perfectly in that setting.
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在那种背景下,这样的音乐是完美的
02:54
There's no big room
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没有大房间
02:56
to create reverberation and confuse the rhythms.
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制造混响,干扰节奏
02:59
The instruments are loud enough
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乐器的声音也够大
03:01
that they can be heard without amplification, etc., etc.
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即使没有功放之类的设备也能听得一清二楚
03:03
It's no accident.
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这不是偶然的
03:05
It's perfect for that particular context.
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这音乐只在特定情境下才表现得如此完美
03:08
And it would be a mess
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如果改成这样的场所
03:10
in a context like this. This is a gothic cathedral.
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那就会一团糟。这是一座哥特式大教堂
03:13
(Music: "Spem In Alium" by Thomas Tallis)
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(音乐:"Spem In Alium" 托马斯·塔利斯)
03:19
In a gothic cathedral, this kind of music is perfect.
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在哥特式大教堂,这类的音乐才是完美的
03:25
It doesn't change key, the notes are long,
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不改变音调,音符拖得很长
03:27
there's almost no rhythm whatsoever,
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基本上没有节奏
03:32
and the room flatters the music.
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而这个房间则为音乐锦上添花
03:34
It actually improves it.
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实际上,它提升了音乐
03:36
This is the room that Bach
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这里是巴赫为其
03:38
wrote some of his music for. This is the organ.
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创作乐曲的地方。这是管风琴
03:41
It's not as big as a gothic cathedral,
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这里并没有哥特式大教堂那么大
03:43
so he can write things that are a little bit more intricate.
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所以他可以创作更繁复的作品
03:46
He can, very innovatively,
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他可以标新立异
03:48
actually change keys
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改变调子
03:50
without risking huge dissonances.
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而不会发生不协和和音
03:52
(Music: "Fantasia On Jesu, Mein Freunde" by Johann S. Bach)
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(音乐:"Fantasia On Jesu, Mein Freunde" 约翰·S·巴赫)
04:00
This is a little bit later.
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这是晚些时候
04:02
This is the kind of rooms that Mozart wrote in.
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类似莫扎特创作时所在的房间
04:05
I think we're in like 1770, somewhere around there.
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我想大概是1770年左右的建筑
04:08
They're smaller, even less reverberant,
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它们空间更小,混响也更小
04:10
so he can write really frilly music
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所以他能作出可谓华丽的曲子
04:12
that's very intricate -- and it works.
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他的音乐非常繁复——而且效果甚佳
04:16
(Music: "Sonata in F," KV 13, by Wolfgang A. Mozart)
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(音乐:"F小调奏鸣曲" 乌夫冈·A·莫扎特)
04:19
It fits the room perfectly.
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它完美地契合了这个房间
04:25
This is La Scala.
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这是斯卡啦剧院(位于意大利米兰)
04:27
It's around the same time,
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它和之前的那个房间差不多建造于同一时期
04:29
I think it was built around 1776.
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我想大概建于1776年
04:31
People in the audience in these opera houses, when they were built,
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在歌剧院建成的时期
04:34
they used to yell out to one another.
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里面的听众常常互相嚷嚷
04:36
They used to eat, drink and yell out to people on the stage,
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他们经常一边大吃大喝,一边和舞台上的人大喊大叫
04:39
just like they do at CBGB's and places like that.
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就像CBGB这类场所的观众一样
04:41
If they liked an aria,
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如果他们喜欢其中一段咏叹调
04:43
they would holler and suggest
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会大喊着建议
04:45
that it be done again as an encore,
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这一段再演一次
04:47
not at the end of the show, but immediately.
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不是在演出最后再演一次,而是马上重演
04:50
(Laughter)
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(笑声)
04:54
And well, that was an opera experience.
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嗯,那就是看歌剧的经验之谈
04:57
This is the opera house that Wagner built for himself.
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这是瓦格纳自己建造的歌剧院
05:01
And the size of the room is not that big.
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剧院的规模不是很大
05:04
It's smaller than this.
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比这里要小
05:06
But Wagner made an innovation.
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但是瓦格纳进行了革新
05:08
He wanted a bigger band.
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他想要一支更大的乐队
05:10
He wanted a little more bombast,
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多一点浮华的感觉
05:12
so he increased the size of the orchestra pit
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于是他增加了乐池的面积
05:14
so he could get more low-end instruments in there.
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这样就可以容纳更多的低音乐器
05:17
(Music: "Lohengrin / Prelude to Act III" by Richard Wagner)
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(音乐:"罗恩格林/第三幕序曲" 理查德·瓦格纳)
05:27
Okay.
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好了
05:30
This is Carnegie Hall.
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这是卡内基音乐厅
05:33
Obviously, this kind of thing became popular.
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这类的建筑显然已经流行起来
05:35
The halls got bigger. Carnegie Hall's fair-sized.
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音乐厅规模更大。卡内基音乐厅的大小和集市差不多
05:38
It's larger than some of the other symphony halls.
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比一些交响乐厅还大
05:41
And they're a lot more reverberant
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那里的混响比
05:43
than La Scala.
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斯卡拉剧院的更大
05:45
Around the same,
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与此同时
05:47
according to Alex Ross who writes for the New Yorker,
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根据Alex Ross给《纽约客》所写的文章可以看出
05:50
this kind of rule came into effect
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这样的规则孕育而生:
05:53
that audiences had to be quiet --
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观众必须保持安静
05:55
no more eating, drinking and yelling at the stage,
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在演出的过程中,不能再吃吃喝喝
05:57
or gossiping with one another
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向舞台上大喊大叫
05:59
during the show.
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或者和别人交头接耳
06:01
They had to be very quiet.
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他们必须非常安静
06:03
So those two things combined meant that
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结合这两件事来看
06:05
a different kind of music
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有一种不同类型的音乐
06:07
worked best in these kind of halls.
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在这样的音乐厅中效果最好
06:10
It meant that there could be extreme dynamics,
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它可以气势磅礴
06:12
which there weren't in some of these
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这是之前某些
06:14
other kinds of music.
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种类的音乐所不具有的
06:16
Quiet parts could be heard
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安静的部分也听得到
06:18
that would have been drowned out
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虽然很容易被
06:20
by all the gossiping and shouting.
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悄悄话和叫喊声淹没
06:22
But because of the reverberation
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但由于混响的关系
06:24
in those rooms like Carnegie Hall,
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在卡内基音乐厅之类的地方
06:26
the music had to be maybe a little less rhythmic
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音乐的节奏得稍微降低
06:28
and a little more textural.
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质地却稍微提高
06:30
(Music: "Symphony No. 8 in E Flat Major" by Gustav Mahler)
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(音乐:“降E大调第八交响曲” 古斯塔夫·马勒)
06:33
This is Mahler.
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这是马勒
06:36
It looks like Bob Dylan, but it's Mahler.
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虽然看上去像鲍勃·迪伦,但这确实是马勒
06:41
That was Bob's last record, yeah.
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哈,这是鲍勃的最后一张唱片
06:44
(Laughter)
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(笑声)
06:47
Popular music, coming along at the same time.
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流行音乐同时也诞生了
06:50
This is a jazz band.
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这是一支爵士乐队
06:52
According to Scott Joplin, the bands were playing
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据斯科特·乔普林所说,这支乐队曾经
06:55
on riverboats and clubs.
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在游船和夜总会中表演过
06:57
Again, it's noisy. They're playing for dancers.
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这一次的环境又很嘈杂。他们为跳舞的人伴奏
06:59
There's certain sections of the song -- the songs had different sections
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有些段落舞者特别喜欢
07:02
that the dancers really liked.
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——一首歌中有好几个段落
07:04
And they'd say, "Play that part again."
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他们会说:“把那部分再演奏一次。”
07:06
Well, there's only so many times
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有很多时候
07:08
you can play the same section of a song over and over again for the dancers.
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为了满足舞者,你会一次又一次地演奏同一个段落
07:11
So the bands started to improvise new melodies.
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因此,乐队开始即兴创作新的曲子
07:14
And a new form of music was born.
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一种音乐的新类型诞生了
07:16
(Music: "Royal Garden Blues" by W.C. Handy / Ethel Waters)
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(音乐:"皇家花园蓝调" W.C. Handy / Ethel Waters)
07:26
These are played mainly in small rooms.
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爵士乐主要在空间较小的室内演奏
07:30
People are dancing, shouting and drinking.
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人们跳舞、叫喊、畅饮
07:32
So the music has to be loud enough
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所以,音乐的声音必须够大
07:34
to be heard above that.
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盖过别的声音
07:36
Same thing goes true for -- that's the beginning of the century --
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有些事情成真了。——那是在这个世纪之初
07:39
for the whole of 20th-century popular music,
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对整个20世纪的流行音乐来说
07:42
whether it's rock or Latin music or whatever.
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无论是摇滚还是拉丁音乐
07:44
[Live music] doesn't really change that much.
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对音乐的改变都不是很大
07:47
It changes about a third of the way into the 20th century,
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但当它成为音乐的主要媒介之一后
07:50
when this became
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在20世纪的前30年间
07:53
one of the primary venues for music.
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流行音乐就发生了很大改变
07:56
And this was one way
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而这是音乐传播到那里的
07:58
that the music got there.
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方法之一
08:00
Microphones enabled singers, in particular,
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麦克风完全改变了
08:03
and musicians and composers,
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音乐家、作曲家
08:05
to completely change the kind of music
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特别是歌手
08:07
that they were writing.
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创作的作品
08:09
So far, a lot of the stuff that was on the radio was live music,
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迄今为止,收音机上大多播放的都是现场演奏
08:12
but singers, like Frank Sinatra,
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但有些歌手,比如法兰克·辛纳屈(Frank Sinatra)
08:15
could use the mic
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可以用麦克风
08:17
and do things
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制造一些
08:19
that they could never do without a microphone.
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不用麦克风根本无法达到的效果
08:22
Other singers after him
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在他之后,更有一些歌手
08:24
went even further.
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把这种做法发扬光大
08:26
(Music: "My Funny Valentine" by Chet Baker)
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(音乐:"My Funny Valentine" Chet Baker)
08:33
This is Chet Baker.
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这是Chet Baker(著名爵士乐手)
08:35
And this kind of thing
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这种效果
08:37
would have been impossible without a microphone.
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没有麦克风绝对做不出来
08:39
It would have been impossible without recorded music as well.
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如果没有录成唱片,那也无法达到
08:42
And he's singing right into your ear.
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他就在你的耳畔歌唱
08:44
He's whispering into your ears.
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在你的耳畔低语
08:46
The effect is just electric.
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这种效果就像过了电一样
08:48
It's like the guy is sitting next to you,
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仿佛歌手就坐在你的身边
08:50
whispering who knows what into your ear.
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和你说着什么东西
08:55
So at this point, music diverged.
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从那个时候起,音乐开始分化
08:57
There's live music,
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既有现场音乐
08:59
and there's recorded music.
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也有唱片音乐
09:01
And they no longer have to be exactly the same.
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它们不再完全相同
09:04
Now there's venues like this, a discotheque,
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现在还有迪斯科舞厅这样的地方
09:07
and there's jukeboxes in bars,
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在酒吧里也有自动点唱机
09:09
where you don't even need to have a band.
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这些地方就不需要乐队了
09:11
There doesn't need to be any
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不需要那些
09:13
live performing musicians whatsoever,
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现场乐队之类的角色
09:16
and the sound systems are good.
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那里的音响不错
09:19
People began to make music
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人们开始专门为迪斯科
09:21
specifically for discos
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和这些音响
09:24
and for those sound systems.
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创作音乐
09:26
And, as with jazz,
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此外,和爵士一样
09:29
the dancers liked certain sections
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跳舞的人会特别喜欢
09:32
more than they did others.
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其中一些片段
09:34
So the early hip-hop guys would loop certain sections.
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所以早期的嘻哈歌手会来回重复某些段落
09:37
(Music: "Rapper's Delight" by The Sugarhill Gang)
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(音乐:"Rapper's Delight" The Sugarhill Gang)
09:45
The MC would improvise lyrics
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歌手会即兴创作歌词
09:47
in the same way that the jazz players would improvise melodies.
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就像爵士演奏者会即兴创作曲子一样
09:50
And another new form of music was born.
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此外,还诞生了新的音乐模式
09:54
Live performance, when it was incredibly successful,
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现场演出,它取得了空前的成功
09:57
ended up in what is probably, acoustically,
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而它诞生的场所从音响效果上来看
10:00
the worst sounding venues on the planet:
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这恐怕是世界上最不适合听音乐的地方了
10:03
sports stadiums,
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体育场
10:05
basketball arenas and hockey arenas.
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篮球场,还有冰球场
10:08
Musicians who ended up there did the best they could.
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音乐家们尽了最大努力
10:10
They wrote what is now called arena rock,
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他们创作了“舞台摇滚”(arena rock)
10:12
which is medium-speed ballads.
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听起来像是中速的谣曲
10:14
(Music: "I Still Haven't Found What I'm Looking For" by U2)
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(音乐:"I Still Haven't Found What I'm Looking For" U2)
10:22
They did the best they could
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他们已经尽了全力
10:24
given that this is what they're writing for.
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写出了这样的歌曲
10:27
The tempos are medium. It sounds big.
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节拍不快不慢,听起来很浑厚
10:30
It's more a social situation
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比起音乐场所
10:32
than a musical situation.
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那里更像是一个社交场所
10:34
And in some ways, the music
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在某些方面
10:36
that they're writing for this place
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他们为那里创作的音乐
10:38
works perfectly.
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非常契合
10:41
So there's more new venues.
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那么,还有更多新的环境
10:44
One of the new ones is the automobile.
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其中一个是汽车
10:46
I grew up with a radio in a car.
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我是在汽车中的收音机边长大的
10:48
But now that's evolved into something else.
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但如今它进化了
10:50
The car is a whole venue.
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整辆汽车变成了一个环境
10:52
(Music: "Who U Wit" by Lil' Jon & the East Side Boyz)
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(音乐:"Who U Wit" Lil' Jon & the East Side Boyz)
10:57
The music that, I would say, is written
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这种音乐,让我说,是写给
11:00
for automobile sound systems
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汽车音响系统的
11:02
works perfectly on it.
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完美地匹配了这个环境
11:04
It might not be what you want to listen to at home,
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这也许不是你想在家里听的音乐
11:07
but it works great in the car --
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但在车子里听起来却很棒——
11:09
has a huge frequency spectrum,
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频谱很宽
11:12
you know, big bass and high-end
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重低音,发烧天碟,你懂的
11:14
and the voice kind of stuck in the middle.
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人声一般集中在中频
11:17
Automobile music, you can share with your friends.
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我们可以和朋友一起享受汽车音乐
11:21
There's one other kind of new venue,
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还有另一种新的环境
11:23
the private MP3 player.
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私人MP3播放器
11:26
Presumably, this is just for Christian music.
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这一个大概只用来听基督教音乐吧
11:28
(Laughter)
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(笑声)
11:34
And in some ways it's like Carnegie Hall,
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在某个方面,这和卡内基音乐厅有点像
11:37
or when the audience had to hush up,
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听音乐的人必须安静
11:39
because you can now hear every single detail.
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因为你能听到所有的细节
11:42
In other ways, it's more like the West African music
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在别的方面,它又更像西非音乐
11:44
because if the music in an MP3 player gets too quiet,
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因为如果MP3播放器里的音乐太过于安静
11:47
you turn it up, and the next minute,
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你把音量调高了,而下一秒钟
11:49
your ears are blasted out by a louder passage.
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你的耳朵会被另一段嘈杂的音乐震聋
11:52
So that doesn't really work.
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所以这并不很好用
11:54
I think pop music, mainly,
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我想,当前创作的
11:56
it's written today,
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大多数流行音乐
11:58
to some extent, is written for these kind of players,
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可以说是写给这类播放器
12:01
for this kind of personal experience
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这种个人体验的
12:03
where you can hear extreme detail,
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你能听出细枝末节
12:05
but the dynamic doesn't change that much.
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又不怎么改变音乐的本质
12:08
So I asked myself:
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我自问
12:11
Okay, is this
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好了,这是不是
12:13
a model for creation,
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一种创作的模式呢?
12:15
this adaptation that we do?
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我们是不是在适应环境呢?
12:18
And does it happen anywhere else?
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这又是不是放之四海而皆准呢?
12:20
Well, according to David Attenborough and some other people,
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根据大卫·爱登堡(David Attenborough,著名生物纪录片主持人)和其他人所说
12:23
birds do it too --
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鸟儿们也是这么做的
12:25
that the birds in the canopy,
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树冠上的鸟
12:28
where the foliage is dense,
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在树枝浓密的地方
12:30
their calls tend to be
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它们的叫声通常
12:32
high-pitched, short and repetitive.
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调子更高,急促,反复
12:36
And the birds on the floor
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而地面上的鸟
12:38
tend to have lower pitched calls,
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叫声通常调子更低
12:40
so that they don't get distorted
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这样当它们在森林的地面上蹦蹦跳跳时
12:42
when they bounce off the forest floor.
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声音也不会被扰乱
12:45
And birds like this Savannah sparrow,
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像这只草原雀(Savannah sparrow)
12:49
they tend to have a buzzing
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它们的叫声更接近嘤嘤作响
12:51
(Sound clip: Savannah sparrow song)
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(声音片段:草原雀之歌)
12:53
type call.
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的类型
12:55
And it turns out that
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事实证明
12:58
a sound like this
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这样的声音
13:00
is the most energy efficient and practical way
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能最有效、实用地利用体内能量
13:03
to transmit their call
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传播它们的叫声
13:06
across the fields and savannahs.
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穿越田野和草原
13:10
Other birds, like this tanager,
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其他的鸟,像这只唐纳雀(tananger)
13:13
have adapted within the same species.
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是同一鸟种中适应环境后的种类
13:16
The tananger on the East Coast of the United States,
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唐纳雀生活在美国东海岸
13:18
where the forests are a little denser,
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那里的森林更茂盛一些
13:20
has one kind of call,
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它们的叫声是这样的
13:22
and the tananger on the other side, on the west
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而这一只唐纳雀则生活在对面,西边
13:25
(Sound clip: Scarlet tanager song)
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(声音片段:猩红唐纳雀之歌)
13:27
has a different kind of call.
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它有着另一种叫声
13:30
(Sound clip: Scarlet tanager song)
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(声音片段:猩红唐纳雀之歌)
13:35
So birds do it too.
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因此,鸟儿也一样这么做
13:38
And I thought:
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然后我想
13:40
Well, if this is a model for creation,
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好吧,如果这是一种创作模式
13:43
if we make music,
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如果我们创作音乐时
13:45
primarily the form at least,
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主要得符合情境
13:48
to fit these contexts,
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至少在形式上如此
13:50
and if we make art to fit gallery walls or museum walls,
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如果我们根据画廊或者博物馆的墙壁来绘制作品
13:53
and if we write software to fit existing operating systems,
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如果我们根据现有的操作系统来编写软件
13:58
is that how it works?
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这就是事情进行的方式吗?
14:01
Yeah. I think it's evolutionary.
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对,我想这是一种进化
14:03
It's adaptive.
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一种适应能力
14:05
But the pleasure and the passion and the joy
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但乐趣、激情和愉悦
14:07
is still there.
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仍然存在
14:10
This is a reverse view of things
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这是和传统的浪漫情怀
14:12
from the kind of traditional Romantic view.
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正好相反的观点
14:14
The Romantic view is that
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在浪漫的观点看来
14:16
first comes the passion
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首先有激情
14:18
and then the outpouring of emotion,
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然后才有洋溢的感情
14:20
and then somehow it gets shaped into something.
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接着,它再被塑造成不同的东西
14:23
And I'm saying,
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我要说
14:25
well, the passion's still there,
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的确,激情不可或缺
14:27
but the vessel
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但容器
14:29
that it's going to be injected into and poured into,
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那即将被填满、充实的容器
14:32
that is instinctively and intuitively
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在最初就根据直觉
14:34
created first.
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已经创造出来了
14:36
We already know where that passion is going.
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我们之前就知道激情会走向何方
14:43
But this conflict of views is kind of interesting.
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然而,这两个观点冲突的地方有一点挺有趣
14:46
The writer,
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一名作家
14:48
Thomas Frank,
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托马斯·弗兰克
14:50
says that
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曾说
14:52
this might be a kind of explanation
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也许有一种解释可以说明
14:54
why some voters vote
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为什么有些选民
14:56
against their best interests,
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给自己利益的对立面投了一票
14:58
that voters, like a lot of us,
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这些选民和我们的大多数人一样
15:01
assume, that if they hear something that sounds like it's sincere,
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假设,如果他们觉得某一方听起来很真诚
15:04
that it's coming from the gut, that it's passionate,
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发自内心,激情洋溢
15:06
that it's more authentic.
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那一方就是更可靠的
15:08
And they'll vote for that.
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他们会投上一票
15:10
So that, if somebody can fake sincerity,
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所以,如果有人假装真诚
15:12
if they can fake passion,
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假装富有激情
15:15
they stand a better chance
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靠着这种方法,当然有一点风险
15:17
of being selected in that way,
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但他们就有更大的机会
15:21
which seems a little dangerous.
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被选上
15:25
I'm saying the two, the passion, the joy,
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我要说,激情和快乐
15:28
are not mutually exclusive.
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并不是势不两立的
15:30
Maybe what the world needs now is for us to realize
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或许,世界现在需要我们认识到
15:33
that we are like the birds.
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我们就像鸟儿
15:35
We adapt.
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我们适应环境
15:37
We sing.
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我们歌唱
15:39
And like the birds, the joy is still there,
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也和鸟儿一样,快乐仍在
15:41
even though we have changed what we do
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即使我们改变了做法
15:44
to fit the context.
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为了适应环境
15:46
Thank you very much.
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非常感谢
15:48
(Applause)
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(掌声)
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