Stefon Harris: There are no mistakes on the bandstand

譯者: Ou Chih-Hong 審譯者: Yen-chung Nora Huang

Okay, I have no idea what we're going to play.

好吧，我不曉得我們今天要彈什麼曲子

I won't be able to tell you what it is until it happens.

開始彈奏前，我沒辦法要告訴你我們打算彈什麼

I didn't realize there was going to be a little music before.

我也不知道在演講開始之前會播放音樂

So I think I'm going to start with what I just heard.

我想就從剛剛聽到的音樂開始好了

(Music)

（音樂）

(Applause)

（掌聲）

Okay, so first of all,

好的，首先

let's welcome Mr. Jamire Williams on the drums,

讓我們歡迎鼓手賈麥爾‧威廉思

(Applause)

（掌聲）

Burniss Travis on the bass,

貝斯手波尼斯‧崔維斯

(Applause)

（掌聲）

and Mr. Christian Sands on the piano.

鋼琴手克力斯帝‧桑德斯

(Applause)

（掌聲）

So the bandstand, as we call it,

我們口中的這個演奏台

this is an incredible space.

是一個很不可思議的地方

It is really a sacred space.

真的是個很神聖的地方

And one of the things that is really sacred about it

這個地方之所以神聖

is that you have no opportunity to think about the future,

有個原因是你沒有機會去思考未來

or the past.

或是過去

You really are alive right here in this moment.

你人在這裡，確實地活在此時此刻

There are so many decisions being made

當你走上演奏台的時候

when you walk on the bandstand.

你要下很多決定

We had no idea what key we were going to play in.

我們剛剛也不知道今天會彈什麼調

In the middle, we sort of made our way

演奏到一半的時候，我們好像還不經意地彈了一首

into a song called "Titi Boom."

叫做《Titi Boom》的曲子

But that could have happened -- maybe, maybe not.

那樣的事情可能發生，也可能不會

Everyone's listening. We're responding.

大家都在聽，我們也在回應

You have no time for projected ideas.

你沒有時間去構思

So the idea of a mistake:

因此，說到"彈錯"

From the perspective of a jazz musician,

從一名爵士音樂家的觀點來看

it's easier to talk about someone else's mistake.

去討論其他人彈錯比較容易些

So the way I perceive a mistake when I'm on the bandstand --

我在台上時，我眼中的彈錯是這樣的

first of all, we don't really see it as a mistake.

首先，我們並不把它當作是錯的

The only mistake lies

除非我不能

in that I'm not able to perceive

聽出另一個人在彈什麼

what it is that someone else did.

這才是真正的失誤

Every "mistake" is an opportunity in jazz.

爵士樂中，每一個"失誤"都是一個機會

So it's hard to even describe

所以要找出一個彈錯的音

what a funny note would be.

並不容易

So for example, if I played a color, like we were playing on a palette,

舉例來說，如果我現在從低音彈到高音，就像我們剛剛隨性彈的那樣

that sounded like this ...

聽起來就像這樣...

(Music)

（音樂）

So if Christian played a note -- like play an F.

要是克力斯帝彈了一個F

(Music)

（音樂）

See, these are all right inside of the color palette.

那個F在我剛剛彈奏的一小段中，聽起來其實還不賴

If you played an E.

要是彈個E

See, these all lie right inside

這個音在我們隨意彈奏的曲子中

of this general emotional palette that we were painting.

聽起來也不賴

If you played an F# though,

要是彈了升F

(Dissonance)

（不協調）

to most people's ears, they would perceive that as a mistake.

大多數人一聽到，都會覺得這個音彈錯了

So I'm going to show you, we're going to play just for a second.

所以，我們現在要彈奏一下

And we're going to play on this palette.

就在這邊彈奏

And at some point, Christian will introduce this note.

同時，克力斯帝也會偶爾彈出這個音

And we won't react to it.

我們不會有所回應

He'll introduce it for a second

他只會彈個一秒

and then I'll stop, I'll talk for a second.

然後我會停下來，然後講一下

We'll see what happens when we play with this palette.

來看看我們這樣彈奏時，會發生什麼事

(Music)

（音樂）

So someone could conceptually perceive that as a mistake.

有人能夠知道那個音彈錯

The only way that I would say it was a mistake

但是，除非我們沒有回應那個音

is in that we didn't react to it.

我才會覺得那個音是錯的

It was an opportunity that was missed.

那就是個我們錯失的機會

So it's unpredictable. We'll paint this palette again.

這完全沒有辦法預料。我們再來彈一次

He'll play it. I don't know how we'll react to it, but something will change.

他會再彈一次，我不知道我們會如何反應，但確定會不一樣就是了

We'll all accept his ideas,

我們會接受他的想法

or not.

但也可能不會

(Music)

（音樂）

So you see, he played this note.

有聽到嗎，他彈了那個音

I ended up creating a melody out of it.

結果，我順著奏了一段旋律

The texture changed in the drums this time.

鼓手所擊的音也改變了

It got a little bit more rhythmic, a little bit more intense

因為我對那個音的反應方式

in response to how I responded to it.

整首曲子變得較有節奏，也較緊湊

So there is no mistake.

因此，沒有所謂的"彈錯"

The only mistake is if I'm not aware,

我覺得，唯一的錯誤

if each individual musician is not aware

是當音樂家沒有察覺

and accepting enough of his fellow band member

且沒有接受團員的想法，因此無法整合他彈出來的音

to incorporate the idea and we don't allow for creativity.

也因為如此，創意便沒有發展空間

So jazz, this bandstand is absolutely amazing.

爵士的表演舞台，相當的精彩

It's a very purifying experience.

是個純淨心靈的經驗

And I know that I speak for all of us when I tell you that we don't take it for granted.

我們每一位團員，都不會認為站在這表演是理所當然

We know that to be able to come on the bandstand and play music is a blessing.

我們知道，能夠站在這演出有多麼幸福

So how does this all relate to behavioral finance?

不過，這和行為經濟學怎麼扯得上關係呢？

Well we're jazz musicians,

唉，我們爵士音樂家

so stereotypically we don't have a great relationship to finance.

所以刻板印象中，我們和錢沒有什麼關係

(Laughter)

（笑聲）

Anyway, I just wanted to sort of point out the way that we handle it.

總之，我只是想說說我們的處理方法

And the other dynamic of it

從另一個行為上來看

is that we don't micromanage in jazz.

我們彈奏爵士時，不會管太多

You have some people who do.

有些人會管很多

But what that does

但是

is it actually limits the artistic possibilities.

那反而限制了藝術上的可能性

If I come up and I dictate to the band

要是我上台來，然後對樂團說

that I want to play like this and I want the music to go this way,

我想要這樣彈，我想要那樣彈

and I just jump right in ...

然後就開始這樣...

ready, just play some time.

準備了

One, two, one, two, three, four.

一、二，一、二、三、四

(Music)

（音樂）

It's kind of chaotic because I'm bullying my ideas.

聽起來很亂，因為我的想法在霸凌別人

I'm telling them, "You come with me over this way."

我告訴他們：「你就和我這樣彈」

If I really want the music to go there,

如果，我真的想樣音樂照著我的方向走

the best way for me to do it is to listen.

最好的方法就是用聽的

This is a science of listening.

這就是聆聽的科學

It has far more to do with what I can perceive

彈奏出好音樂，不只是在於我能彈出什麼

than what it is that I can do.

更重要的是對音樂的聆聽

So if I want the music to get to a certain level of intensity,

如果我要音樂達到某種程度的緊湊感

the first step for me is

我要做的第一件事

to be patient, to listen to what's going on

就是耐心去聽我周圍的音樂

and pull from something that's going on around me.

然後從中得到彈奏的靈感

When you do that, you engage and inspire the other musicians

如此一來，其他團員不僅注意到你，你也給了他們靈感

and they give you more, and gradually it builds.

你所想要的音樂，也就漸漸地成形

Watch. One, two, a one, two, three, four.

注意聽，一二，一、二、三、四

(Music)

（音樂）

Totally different experience when I'm pulling ideas.

這和剛剛相比完全是不同的經驗

It's much more organic. It's much more nuanced.

更有組織，也更協調

It's not about bullying my vision or anything like that.

音樂並不是在於用自己的想法霸凌他人

It's about being here in the moment,

而是在於置身這一刻

accepting one another

接受彼此的想法

and allowing creativity to flow.

也讓創意萌芽發展

Thank you.

謝謝

(Applause)

（掌聲）