MichaelTilsonThomas_2012[麦克 蒂尔森 托马斯][音乐和情感的传承].pdf

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1、www.XiYuS锡育软件Thank you.(Applause)Well when I was asked to do thisTEDTalk,I was really chuckled,because,you see,my fathersname was Ted,and much of my life,especially my musicallife,is really a talk that Im still having with him,or the part ofme that he continues to be.谢谢大家。（掌声）当我接到邀请来给TED做这个演讲的时候,我真的

2、笑了。因为,你知道,我父亲的名字就叫Ted,而且我生命的大部分,特别是我的音乐生涯,或者一部分的我,还在继续。1195625Now Ted was a New Yorker,an all-around theater guy,andhe was a self-taught illustrator and musician.现在,Ted住在纽约,奔波于不同的剧场,00:30He didnt read a note,and he was profoundly hearingimpaired.他不识乐谱,00:38Yet,he was my greatest teacher.他还是我最好的老师。00

3、:42Because even through the squeaks of his hearing aids,hisunderstanding of music was profound.00:46And for him,it wasnt so much the way the music goes asabout what it witnesses and where it can take you.而且对于他来说,重要的不只是音乐的形式,00:52And he did a painting of this experience,which he called Inthe Realm of

4、 Music.他把它命名为,在“音乐的世界”。01:00chuckled:vi.咯咯的笑,轻声地笑/n.轻笑,窃笑/vt.轻声笑着表示 all-around:adj.全面的;综合性的 self-taught:adj.自学的;自修的 illustrator:n.插图画家;说明者;图解者 profoundly:adv.深刻地;深深地;极度地 impaired:adj.受损的/v.损害(impair的过去式和过去分词)squeaks:vi.告密;吱吱叫;侥幸成功/n.吱吱声;机会/vt.以短促尖声发出 witnesses:n.法证人;目击者;法证据(witness的复数)/v.作证;目睹(witne

5、ss的三单形式)Now Ted entered this realm every day by improvising in asort of Tin Pan Alley style like this.有点像在叮砰巷听到的音乐的风格（叮砰巷:美国纽约市第28街为中心的音乐出版商和作曲家聚集地）。01:06(Music)But he was tough when it came to music.但是对于音乐本身,他是异常严肃认真的。01:15He said,There are only two things that matter in music:what and how.01:25And

6、 the thing about classical music,that what and how,itsinexhaustible.”对于古典音乐来说,内容和表现形式,永无止境。01:30That was his passion for the music.这就是他对于音乐的激情。01:37Both my parents really loved it.01:39They didnt know all that much about it,but they gave methe opportunity to discover it together with them.他们并不是无所不知,

7、但是他们给了我一个机会,去发现音乐,和他们一起。01:41And I think inspired by that memory,its been my desire totry and bring it to as many other people as I can,sort of passit on through whatever means.我认为正是那些受那些记忆的启发,带给尽可能多的人,01:49And how people get this music,how it comes into their lives,really fascinates me.而且人们从哪里接触到某种

8、音乐,它如何融入他们的生活,01:59One day in New York,I was on the street and I saw some kidsplaying baseball between stoops and cars and fire hydrants.我看到一些小孩子在门廊,汽车和消防栓之间打棒球。02:05improvising:vt.即兴创作;即兴表演;临时做;临时提供/vi.即兴创作;即兴表演;临时凑合 Tin:n.锡;罐头,罐;马口铁/adj.锡制的/vt.涂锡于;给包马口铁 Alley:n.小巷;小路;小径 inexhaustible:adj.用不完的;不知疲倦

9、的 fascinates:vt.使着迷,使神魂颠倒/vi.入迷 hydrants:安全消防龙头/给水栓And a tough,slouchy kid got up to bat,and he took a swingand really connected.他甩开球棒,真的击到了球。02:13And he watched the ball fly for a second,and then he went,Dah dadaratatatah.然后他看着球飞了一会儿,02:18Brah dada dadadadah.02:23And he ran around the bases.然后他绕着球场

10、跑起来。02:27And I thought,go figure.我就想,试着猜猜看吧。02:29How did this piece of 18th century Austrian aristocraticentertainment turn into the victory crow of this New Yorkkid?02:31How was that passed on?How did he get to hear Mozart?这首曲子是怎么样流传下来的？那个孩子是怎么样听到莫扎特的曲子的？02:41TED演讲者：Michael Tilson Thomas|麦克 蒂尔森 托马斯

11、演讲标题：Michael Tilson Thomas:Music and emotion through time|音乐和情感的传承内容概要：Conductor Michael Tilson Thomas(call him MTT)is an all-around music educator-connecting with global audiences,young musicians and concertgoers in San Francisco andLondon.在这个概括性的精彩演讲中，麦克 蒂尔森 托马斯随着记谱方式，录音，和重混追溯了古典音乐的发展脉络。Well when

12、it comes to classical music,theres an awful lot topass on,much more than Mozart,Beethoven or Tchiakovsky.当说到古典音乐的时候,有太多的东西被传承,比莫扎特,贝多芬,或者柴可夫斯基多得多。02:46Because classical music is an unbroken living tradition thatgoes back over 1,000 years.因为古典音乐 已经有超过1000年的历史。02:54And every one of those years has had

13、 something unique andpowerful to say to us about what its like to be alive.这其中的每一年 都有一些独特的,强大的事情启发着我们 去体验活着是什么样子。03:02slouchy:adj.懒散的;没精打采的 Dah:n.长划;大刀;长音 dada:n.爸爸(等于dad)bases:n.基础(base的复数形式);根据;主要成分 aristocratic:adj.贵族的;贵族政治的;有贵族气派的 turn into:v.变成;进入 pass on:传递;继续;去世 unbroken:adj.未破损的,完整的;继续的;未被阻断

14、的Now the raw material of it,of course,is just the music ofeveryday life.现在,那些原始的素材,当然,就是那些和日常生活有关的音乐。03:11Its all the anthems and dance crazes and ballads andmarches.还有歌谣,还有进行曲。03:15But what classical music does is to distill all of these musicsdown,to condense them to their absolute essence,and fro

15、mthat essence create a new language,就是把所有的这些音乐进行提炼,从这种精华里,创造了一种新的语言,03:20a language that speaks very lovingly and unflinchingly aboutwho we really are.这种语言深情地,原原本本地03:34Its a language thats still evolving.03:42Now over the centuries it grew into the big pieces we alwaysthink of,like concertos and sy

16、mphonies,but even the mostambitious masterpiece can have as its central mission在数个世纪的时间里,它成为了我们平时所熟知的形式,比如协奏曲和交响乐,但是即使是最充满雄心的经典乐曲03:45to bring you back to a fragile and personal moment-likethis one from the Beethoven Violin Concerto.是把你带到那个脆弱的私人空间 就像是贝多芬的小提琴协奏曲。03:57anthems:n.圣歌(anthem的复数);颂歌 crazes

17、:n.狂热/vi.发狂;产生纹裂/vt.使发狂;使产生纹裂 ballads:n.民歌;情歌(ballad的复数);叙事诗歌/v.创作叙事曲;编写叙事诗歌(ballad的三单形式)marches:n.边界地区(尤指英格兰与苏格兰或威尔士的)distill:vt.提取;蒸馏;使滴下/vi.蒸馏;滴下;作为精华产生(等于distil)condense:vi.浓缩;凝结/vt.使浓缩;使压缩 lovingly:adv.亲切地;钟爱地 evolving:adj.进化的;展开的/v.进化;展开(evolve的ing形式)symphonies:n.交响曲(symphony的复数)ambitious:adj.

18、野心勃勃的；有雄心的；热望的；炫耀的 masterpiece:n.杰作;绝无仅有的人 fragile:adj.脆的；易碎的Concerto:n.协奏曲(Music)Its so simple,so evocative.（音乐）它如此简单,如此的能唤起人们的遐想。04:05So many emotions seem to be inside of it.04:33Yet,of course,like all music,its essentially not aboutanything.当然,就像所有的音乐,它本身并不是在阐述所有的事情。04:36Its just a design of pit

19、ches and silence and time.它只是一连串设计出来的音调,静止和时间节拍。04:40And the pitches,the notes,as you know,are just vibrations.04:44Theyre locations in the spectrum of sound.它们是音域中的位置。04:48还是3729,降B大调相信我,都是对的04:51But the way we react to different combinations of thesephenomena is complex and emotional and not total

20、lyunderstood.很复杂,而且情绪化,并且不完全能被理解。05:06And the way we react to them has changed radically over thecenturies,as have our preferences for them.而且我们对于他们的反应,在几个世纪的时间里发生着急剧的变化,就像我们对于它们的喜好的变化。05:13So for example,in the 11th century,people liked pieces thatended like this.例如,在11世纪,人们喜欢结尾是这样的曲子。05:20(Music)A

21、nd in the 17th century,it was more like this.（音乐）到了17世纪,就更倾向于这样的。05:27(Music)And in the 21st century.在21世纪05:44evocative:adj.唤起的;唤出的 pitches:pitch的变形 vibrations:n.力振动;共鸣;动摇(vibration的复数)spectrum:n.光谱；频谱；范围；余象 radically:adv.根本上；彻底地；以激进的方式 preferences:n.参数选择(preference的复数);选择权(Music)Now your 21st cent

22、ury ears are quite happy with thislast chord,even though a while back it would have puzzledor annoyed you or sent some of you running from the room.（音乐）你们生活的21世纪非常喜欢像是刚才这个和弦,或者能让你们中的一些人赶紧逃离这个房间。05:53And the reason you like it is because youve inherited,whether you knew it or not,centuries-worth of c

23、hanges inmusical theory,practice and fashion.你喜欢它的原因 是因为你继承了,不管你知道与否,几个世纪以来的变化 在音乐理论,实践和流行趋势当中。06:11And in classical music we can follow these changes very,veryaccurately because of the musics powerful silent partner,theway its been passed on:notation.在古典音乐中,我们可以非常准确的寻找这些变化的轨迹 这是音乐有一个默默无闻,但是很强大的伙伴,这

24、就是音乐得以流传的方式:乐谱。06:21Now the impulse to notate,or,more exactly I should say,或者,用更确切地表达方式,我要说,给音乐编码 已经伴随我们很长一段历史了。06:33Now the impulse to notate,or,more exactly I should say,encode music has been with us for a very long time.经伴随我们很长一段历史了。06:33www.XiYuS锡育软件In 200 B.C.,a man named Sekulos wrote this son

25、g for hisdeparted wife and inscribed it on her gravestone in thenotational system of the Greeks.为他过世了的妻子写了一首歌 然后把它刻在了她的墓碑上 用希腊的记谱系统。06:41chord:n.弦;和弦 puzzled:adj.困惑的;茫然的;搞糊涂的 inherited:adj.遗传的;继承权的;通过继承得到的/v.继承;经遗传而得(inherit的过去分词)accurately:adv.精确地,准确地 notation:n.符号;乐谱;注释;记号法 impulse:n.冲动;电子脉冲;刺激;神经

26、冲动;推动力/vt.推动 notate:vt.以符号表示 encode:vt.(将文字材料)译成密码;编码,编制成计算机语言 departed:adj.过去的;死去的;以往的/n.死者/v.离去;去世(depart的过去分词)inscribed:adj.内切的;记名的;有铭刻的/v.题写;雕刻;内切(inscribe的过去分词)gravestone:n.墓碑,墓石(Music)And a thousand years later,this impulse to notatetook an entirely different form.（音乐）这种记录的方式采用了一种完全不同的方式。06:52

27、And you can see how this happened in these excerpts fromthe Christmas mass Puer Natus est nobis,在那些圣诞弥撒曲 Puer Natus est nobis,07:26For Us is Born.为我们而生07:34(Music)In the 10th century,little squiggles were used just toindicate the general shape of the tune.（音乐）表示音符的几号。07:36And in the 12th century,a l

28、ine was drawn,like a musicalhorizon line,to better pinpoint the pitchs location.在12世纪,加了一条线,有点儿像是音乐的地平线,用来定位音高。07:46And then in the 13th century,more lines and new shapes ofnotes locked in the concept of the tune exactly,and that ledto the kind of notation we have today.被确定下来准确的表达音阶,这就发展成了我们今天的记谱方式。

29、07:57Well notation not only passed the music on,notating andencoding the music changed its priorities entirely,becauseit enabled the musicians to imagine music on a much vasterscale.记谱并不仅仅把音乐传承了下来,记录和给音乐编码的作用也整个发生了改变,在更大的范围内,想象构思音乐。08:11Now inspired moves of improvisation could be recorded,saved,con

30、sidered,prioritized,made into intricate designs.可以被记录,保存,考虑,重新区分优先次序,处理成复杂的设计。08:25excerpts:n.摘由,节选(excerpt复数形式)squiggles:n.胡乱写的字;花体/vt.潦草地写;使成波形曲线/vi.乱涂乱画;蠕动pinpoint:vt.查明;精确地找到;准确描述/adj.精确的;详尽的/n.针尖;精确位置;极小之物 encoding:n.计编码/v.计编码(encode的ing形式)priorities:优先顺序 improvisation:n.即兴创作;即席演奏 prioritized:v

31、.优先化(prioritize的过去分词)intricate:adj.复杂的；错综的，缠结的And from this moment,classical music became what it mostessentially is,a dialogue between the two powerful sides ofour nature:instinct and intelligence.从这一刻起,古典音乐变成 它本质上的意义所在,一种自然界两个强大的两极的对话:08:35And there began to be a real difference at this point betw

32、eenthe art of improvisation and the art of composition.作曲的艺术之间。08:48Now an improviser senses and plays the next cool move,buta composer is considering all possible moves,testing themout,prioritizing them out,until he sees how they can form apowerful and coherent design of ultimate and enduringcoolne

33、ss.一个即兴演奏着,感受,并且演奏（众多旋律的可能性中）很酷的一种方式,试验它们,把它们排列顺序,直到找到一种强大的,和谐的设计 这是一种最终的,有生命力的伟大延续。08:56Now some of the greatest composers,like Bach,werecombinations of these two things.一些最伟大作曲家,比如巴赫,是两种事物的结合。09:16Bach was like a great improviser with a mind of a chessmaster.09:20Mozart was the same way.莫扎特也是一样。09

34、:25But every musician strikes a different balance between faithand reason,instinct and intelligence.但是每个音乐家在 真实和推理,本能和智慧之间的平衡点不一样。09:27And every musical era had different priorities of these things,different things to pass on,different whats and hows.每一个音乐时代,都有不同的突出特点,09:34composer:n.作曲家;作家,著作者;设计者

35、prioritizing:v.目标优选;指定优先权;依主次程序排列(prioritize的ing形式)coherent:adj.连贯的，一致的；明了的；清晰的；凝聚性的；互相耦合的；粘在一起的 enduring:adj.持久的;能忍受的/v.忍耐(endure的ing形式)coolness:n.冷;凉爽;冷静 composers:n.作曲家;作曲者(composer的复数形式)whats:pron.什么;多么;多少/adj.什么;多么;何等/adv.到什么程度,在哪一方面/int.什么;多么 hows:n.豪视安科公司So in the first eight centuries or so

36、of this tradition the bigwhat was to praise God.所以在这个传统的前八个世纪09:42And by the 1400s,music was being written that tried tomirror Gods mind as could be seen in the design of the nightsky.到了15世纪,音乐用来 被反应神的意志 比如在夜空中可以看到他的显现。09:50The how was a style called polyphony,music of manyindependently moving voice

37、s that suggested the way theplanets seemed to move in Ptolemys geocentric universe.这里的“怎么样”是一种叫做复位音乐的形式,一种很多种各自独立的,不同的声音 被用来阐释行星看起来运动的方式 在托勒密（古希腊天文学planets seemed to move in Ptolemys geocentric universe.家、地理学家、数学家,地心说的创立者)的地球为中心的宇宙中。10:00This was truly the music of the spheres.10:13(Music)This is th

38、e kind of music that Leonardo DaVinci wouldhave known.这是一种莱奥纳多 达芬奇应该知道的音乐。10:17And perhaps its tremendous intellectual perfection andserenity meant that something new had to happen-aradical new move,which in 1600 is what did happen.也许它的高度的智慧的完美性和纯粹性 预示着有些什么事情即将发生 一种激进的变化,真的在十七世纪发生了。10:51(Music)Singe

39、r:Ah,bitter blow!（音乐）11:02Ah,wicked,cruel fate!啊,邪恶的,残酷的命运！11:09polyphony:n.复调;复调音乐;多音 independently:adv.独立地;自立地 geocentric:adj.以地球为中心的;由地心开始测量的spheres:n.数球体(sphere的复数);球形包围盒/v.把放在球体内(sphere的第三人称单数形式)tremendous:adj.极大的，巨大的；惊人的；极好的 perfection:n.完善；完美 serenity:n.平静,宁静;晴朗,风和日丽 wicked:adj.邪恶的；恶劣的；不道德的；顽

40、皮的Ah,baleful stars!啊,凶兆星！11:13Ah,avaricious heaven!啊,贪婪的天堂！11:20MTT:This,of course,was the birth of opera,and itsdevelopment put music on a radical new course.这,当然,就是歌剧的起源,它的发展,把音乐送上了快速发展的轨道。11:27The what now was not to mirror the mind of God,but tofollow the emotion turbulence of man.而是表达人的情绪的变化。11

41、:34And the how was harmony,stacking up the pitches to formchords.而这里的“如何”,就是和声,也就是把音高叠加起来,组成和弦。11:41And the chords,it turned out,were capable of representingincredible varieties of emotions.而和弦,正好 可以代表令人吃惊的各种情绪。11:47And the basic chords were the ones we still have with us,thetriads,either the major

42、one,which we think is happy,or theminor one,which we perceive as sad.基本的和旋,就是现在我们还可以看到的,我们认为它代表愉快,11:53But whats the actual difference between these two chords?但是这两种和弦之间究竟是有什么差别？12:15Its just these two notes in the middle.12:18Its either E natural,and 659 vibrations per second,or E flat,at 622.或者是每秒

43、659次振动,12:20baleful:adj.恶意的;有害的 avaricious:adj.贪婪的;贪得无厌的 turbulence:n.骚乱,动荡;流湍流;狂暴 stacking:n.交堆垛/v.堆叠,堆积(stack的ing形式)chords:n.数弦(乐器上的,chord的复数);和弦 representing:v.代表;表示,表现(represent的ing形式)varieties:n.品种;种类(variety的复数);变种 triads:n.三元;数三元组(triad的复数形式)So the big difference between human happiness andsa

44、dness?所以人类愉快和悲伤之间的巨大差异？12:3237 freakin vibrations.只是37个奇异的振动。12:38So you can see in a system like this there was enormoussubtle potential of representing human emotions.所以,你看在这个系统里,有巨大的微妙的潜力,来12:41And in fact,as man began to understand more his complexand ambivalent nature,harmony grew more complex

45、toreflect it.事实上,随着人们越来越多的理解 人的复杂和摇摆不定的天性,和声也变得越来越复杂。12:49Turns out it was capable of expressing emotions beyond theability of words.的情感。12:57Now with all this possibility,classical music really took off.有了这个可能性,古典音乐开始真的腾飞了。13:03Its the time in which the big forms began to arise.这是大的形式开始上升的时代。13:10A

46、nd the effects of technology began to be felt also,becauseprinting put music,the scores,the codebooks of music,intothe hands of performers everywhere.技术的进步也开始起作用,因为乐谱的印刷品 可以被各地的演奏者得到了。13:14And new and improved instruments made the age of thevirtuoso possible.使得这成为一个演绎精湛的人们的时代。13:25This is when those

47、 big forms arose-the symphonies,thesonatas,the concertos.这就是那些大的形式出现的时代 交响乐,奏鸣曲,协奏曲13:30ambivalent:adj.矛盾的;好恶相克的 expressing:v.表达;表达观点(express的ing形式)performers:n.表演者;执行者(performer的复数形式)virtuoso:n.艺术品鉴赏家;古董收藏家;艺术大师/adj.行家里手的;艺术爱好者的 arose:vi.出现(arise的过去式);引发And in these big architectures of time,compos

48、ers likeBeethoven could share the insights of a lifetime.在这些时间组成的框架中,像是贝多芬这样的作曲家分享他们对于一生的真知灼见。13:37A piece like Beethovens Fifth basically witnessing how it waspossible for him to go from sorrow and anger,over thecourse of a half an hour,step by exacting step of his route,to一首像贝多芬第五交响乐的曲子 一步一步严格地沿着他

49、的路线,知道他简直的最后一刻,跨向了喜悦。13:46course of a half an hour,step by exacting step of his route,tothe moment when he could make it across to joy.(Music)And it turned out the symphony could be used formore complex issues,like gripping ones of culture,such asnationalism or quest for freedom or the frontiers ofs

50、ensuality.（音乐）碰巧这些交响乐可以用于更复杂的事物,比如文化中扣人心弦的那些事情,或者感官享受的前沿。14:11But whatever direction the music took,one thing untilrecently was always the same,and that was when themusicians stopped playing,the music stopped.但是不管音乐朝这其中的那个方向走,那就是当音乐家停止演奏的时候,音乐就停止了。14:47Now this moment so fascinates me.这个时刻让我觉得非常有意思。