Okay, I have no idea what we're going to play. I won't be able to tell you what it is until it happens. I didn't realize there was going to be a little music before. So I think I'm going to start with what I just heard.
好吧,我不曉得我們今天要彈什麼曲子 開始彈奏前,我沒辦法要告訴你我們打算彈什麼 我也不知道在演講開始之前會播放音樂 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, let's welcome Mr. Jamire Williams on the drums, (Applause) Burniss Travis on the bass, (Applause) and Mr. Christian Sands on the piano.
好的,首先 讓我們歡迎鼓手賈麥爾‧威廉思 (掌聲) 貝斯手波尼斯‧崔維斯 (掌聲) 鋼琴手克力斯帝‧桑德斯
(Applause)
(掌聲)
So the bandstand, as we call it, this is an incredible space. It is really a sacred space. 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. You really are alive right here in this moment. There are so many decisions being made when you walk on the bandstand. We had no idea what key we were going to play in. In the middle, we sort of made our way into a song called "Titi Boom." But that could have happened -- maybe, maybe not. Everyone's listening. We're responding. You have no time for projected ideas.
我們口中的這個演奏台 是一個很不可思議的地方 真的是個很神聖的地方 這個地方之所以神聖 有個原因是你沒有機會去思考未來 或是過去 你人在這裡,確實地活在此時此刻 當你走上演奏台的時候 你要下很多決定 我們剛剛也不知道今天會彈什麼調 演奏到一半的時候,我們好像還不經意地彈了一首 叫做《Titi Boom》的曲子 那樣的事情可能發生,也可能不會 大家都在聽,我們也在回應 你沒有時間去構思
So the idea of a mistake: From the perspective of a jazz musician, it's easier to talk about someone else's mistake. 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. The only mistake lies in that I'm not able to perceive what it is that someone else did. Every "mistake" is an opportunity in jazz. So it's hard to even describe what a funny note would be.
因此,說到"彈錯" 從一名爵士音樂家的觀點來看 去討論其他人彈錯比較容易些 我在台上時,我眼中的彈錯是這樣的 首先,我們並不把它當作是錯的 除非我不能 聽出另一個人在彈什麼 這才是真正的失誤 爵士樂中,每一個"失誤"都是一個機會 所以要找出一個彈錯的音 並不容易
So for example, if I played a color, like we were playing on a palette, that sounded like this ... (Music) So if Christian played a note -- like play an F. (Music) See, these are all right inside of the color palette. If you played an E. See, these all lie right inside of this general emotional palette that we were painting. If you played an F# though, (Dissonance) to most people's ears, they would perceive that as a mistake.
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 聽起來就像這樣... (音樂) 要是克力斯帝彈了一個F (音樂) 那個F在我剛剛彈奏的一小段中,聽起來其實還不賴 要是彈個E 這個音在我們隨意彈奏的曲子中 聽起來也不賴 要是彈了升F (不協調) 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. And we're going to play on this palette. And at some point, Christian will introduce this note. And we won't react to it. He'll introduce it for a second and then I'll stop, I'll talk for a second. We'll see what happens when we play with this palette.
所以,我們現在要彈奏一下 就在這邊彈奏 同時,克力斯帝也會偶爾彈出這個音 我們不會有所回應 他只會彈個一秒 然後我會停下來,然後講一下 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. The only way that I would say it was a mistake is in that we didn't react to it. It was an opportunity that was missed. So it's unpredictable. We'll paint this palette again. He'll play it. I don't know how we'll react to it, but something will change. We'll all accept his ideas, or not.
有人能夠知道那個音彈錯 但是,除非我們沒有回應那個音 我才會覺得那個音是錯的 那就是個我們錯失的機會 這完全沒有辦法預料。我們再來彈一次 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 我們會接受他的想法 但也可能不會
(Music)
(音樂)
So you see, he played this note. I ended up creating a melody out of it. The texture changed in the drums this time. It got a little bit more rhythmic, a little bit more intense in response to how I responded to it. So there is no mistake. 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.
有聽到嗎,他彈了那個音 結果,我順著奏了一段旋律 鼓手所擊的音也改變了 因為我對那個音的反應方式 整首曲子變得較有節奏,也較緊湊 因此,沒有所謂的"彈錯" 我覺得,唯一的錯誤 是當音樂家沒有察覺 且沒有接受團員的想法,因此無法整合他彈出來的音 也因為如此,創意便沒有發展空間
So jazz, this bandstand is absolutely amazing. It's a very purifying experience. And I know that I speak for all of us when I tell you that we don't take it for granted. We know that to be able to come on the bandstand and play music is a blessing. So how does this all relate to behavioral finance? Well we're jazz musicians, so stereotypically we don't have a great relationship to finance.
爵士的表演舞台,相當的精彩 是個純淨心靈的經驗 我們每一位團員,都不會認為站在這表演是理所當然 我們知道,能夠站在這演出有多麼幸福 不過,這和行為經濟學怎麼扯得上關係呢? 唉,我們爵士音樂家 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. And the other dynamic of it is that we don't micromanage in jazz. You have some people who do. But what that does is it actually limits the artistic possibilities. 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 ... ready, just play some time. One, two, one, two, three, four. (Music) It's kind of chaotic because I'm bullying my ideas. I'm telling them, "You come with me over this way."
總之,我只是想說說我們的處理方法 從另一個行為上來看 我們彈奏爵士時,不會管太多 有些人會管很多 但是 那反而限制了藝術上的可能性 要是我上台來,然後對樂團說 我想要這樣彈,我想要那樣彈 然後就開始這樣... 準備了 一、二,一、二、三、四 (音樂) 聽起來很亂,因為我的想法在霸凌別人 我告訴他們:「你就和我這樣彈」
If I really want the music to go there, the best way for me to do it is to listen. This is a science of listening. It has far more to do with what I can perceive than what it is that I can do. 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. When you do that, you engage and inspire the other musicians and they give you more, and gradually it builds. Watch. One, two, a one, two, three, four.
如果,我真的想樣音樂照著我的方向走 最好的方法就是用聽的 這就是聆聽的科學 彈奏出好音樂,不只是在於我能彈出什麼 更重要的是對音樂的聆聽 如果我要音樂達到某種程度的緊湊感 我要做的第一件事 就是耐心去聽我周圍的音樂 然後從中得到彈奏的靈感 如此一來,其他團員不僅注意到你,你也給了他們靈感 你所想要的音樂,也就漸漸地成形 注意聽,一二,一、二、三、四
(Music)
(音樂)
Totally different experience when I'm pulling ideas. It's much more organic. It's much more nuanced. It's not about bullying my vision or anything like that. It's about being here in the moment, accepting one another and allowing creativity to flow.
這和剛剛相比完全是不同的經驗 更有組織,也更協調 音樂並不是在於用自己的想法霸凌他人 而是在於置身這一刻 接受彼此的想法 也讓創意萌芽發展
Thank you.
謝謝
(Applause)
(掌聲)