2013.7.31 文學院取5-6本2011年的《社會科學論壇》月刊，這是河北近20年的聯合刊物。還是有數篇黨八股，沒什麼讓人想從目錄翻進去的。可當閒書讀讀......
出版業的好時代與壞時代Peters Fraser & Dunlop首席執行官卡羅琳•米歇爾為英國《金融時報》撰稿
全球圖書行業已經變得面目全非。不妨問問暢銷書《合適郎君》(A Suitable Boy)的作者維克拉姆•塞斯(Vikram Seth)。據報導稱，由於未能按時交付手稿，企鵝蘭登書屋(Penguin Random House)本月已要求他退還170萬美元預付款。 2012年9月，企鵝因同樣理由起訴了它的數名作者。這些案例表明，作者們必鬚根據出版經濟的新特點，迅速做出調整。作家們比以往有了更多機會，但能遷就他們的商業理由也更少了。全球閱讀的人數越來越多：印刷版圖書銷量或許略有下降，但電子書銷量增長強勁。這就是當前圖書生意的基本背景。任何時候討論到出版，亞馬遜(Amazon)、谷歌(Google)、蘋果(Apple)以及越來越多地還有三星(Samsung)等名字被提及的頻繁度，已趕上了企鵝、哈珀柯林斯(HarperCollins)和阿歇特(Hachette)。這類科技企業是圖書行業的後來者，它們實力強大，資金充足，渠道廣闊。正如行業雜誌《書商》(The Bookseller)總編輯菲利普•瓊斯(Philip Jones)所言：“這個行業正悄悄呈現出一種新面貌。”數字革命意味著，不會有哪本書會絕版，也不會有哪本書無法出版。數字革命意味著，無論身在何時、身處何地，想要一本什麼格式的書，你都能找到並訂購到它。這是包括作家在內的出版行業所有傳統角色都面臨的挑戰——作家受到的要求將更苛刻。作家與出版商一直構成出版業傳統的核心關係。但過去30年來，行業整合以及近來興起的電子出版改變了一切。出版商遷就作者的理由更少了，這部分是由於，科技揭示出該行業的一條真相——幾乎無法預測出一本暢銷書。在數字化之前的時代，出版的圖書中幾乎80%是賠錢的。因此，每年只要出版一兩本暢銷書，出版社就能取得成功。我曾在出版業工作過幾年，那時董事會會議的一個主題就是，穿著灰色西裝的人目光凌厲地盯著預算，嘴裡說到：“你們為什麼沒出不了更多暢銷書？”我們為什麼沒有考慮這個問題？圖書出版業與所有的創意性行業一樣，市場決定什麼是暢銷書。弗雷德里克•福賽思(Frederick Forsyth)的《豺狼的日子》(The Day of the Jackal)和J•K•羅琳(JK Rowling)的《哈利•波特》(Harry Potter)系列的退稿通知已經成為業界傳奇，同樣傳奇的還有出人意料的暢銷書，例如塞巴斯蒂安•福克斯(Sebastian Faulks)的《鳥鳴》(Birdsong)以及丹•布朗(Dan Brown)的《達芬奇密碼》(Da Vinci Code)和EL•詹姆斯(EL James)的《五十度灰》(Fifty Shades Of Grey)。這些書走紅都得益於市場推廣，在被讀者發現以後，開始廣泛流傳。出版商並不能打造暢銷書，他們只是推動暢銷書走向了市場。在一個成本被削減、利潤率承壓的當今世界，出版的能力幾乎是無限的，下一個暢銷作家無法預測。最容易的就是把目標對準未交稿圖書的巨額預付款，例如塞塞。預付款可能有數十萬之多。以往，編輯或者出版商可以竭盡全力保護或者重談合同，因為作家圈很小，這麼做會在公共關係方面造成惡劣影響。這還表明出版商冷酷無情，未向藝術家提供充分的保護。但對資產負債表來說，減少預付款是顯而易見、十分合理的。商業大潮席捲而來，把傳統的作家-出版商關係吹得煙消雲散。短期財務指標成了必須考慮的問題。對於一名作家而言，簽下無懈可擊的合同非常關鍵。在這樣的合同下，出版商可以要求退還預付款的唯一情況，是作家未能如期交付書稿。不過，這裡出版業也呈現出積極的一面：這是作者的黃金時代。在他們面前敞開了更多分銷渠道、更廣闊的銷售範圍、更多機會維持圖書的出版狀態。還有諸多創新性措施來改善圖書的閱讀體驗，例如whispersync可以讓讀者在閱讀電子書與聆聽有聲書之間隨意轉換，不用擔心丟失閱讀進度。作家的作品能夠諸多格式呈現給讀者。出版業正在把作者的作品推向更多市場：作為文學代理機構，我們正在甚至半年前都不存在的市場上做交易。例如，我們與亞馬遜合作，直接用新格式出版丹尼斯•惠特利(Dennis Wheatley)、哈蒙德•英尼斯(Hammond Innes)與馬格麗•阿林厄姆(Margery Allingham)等人的電子書。出版業高枕無憂之前尚需做出努力。我們看到傳統電影和音樂行業幾近消亡。但即便這兩個行業，如今也認可了所汲取到的教訓。正如國際唱片業協會(IFPI)首席執行官弗朗西絲•穆爾(Frances Moore)所言：“唱片業正已踏上復甦之路。業內出現了一種久違了的愉快氛圍。”出版業正逢復甦的絕佳時機——儘管企鵝可能仍在懷疑，塞斯是不是他們應鼎力支持的“如意郎君”。本文作者是文學與人才代理機構Peters Fraser & Dunlop的首席執行官譯者/倪衛國
2012/2/17 台大學生活動中心 某哲學黃老師:
佐藤將之，2003.12，〈日本二十世紀荀子研究的回顧〉，《國立政治大學哲學學報：
荀子研究/《荀子》
國立政治大學哲學學報【第十ㄧ期】目錄／Contents
編者序……………………………………………………….i
柯雄文
「國際荀子研究專號」序言……………………………… iii
王靈康
英語世界荀子研究概況 …………………………………1 全文
佐藤將之
二十世紀日本荀子研究之回顧 …………………………39 摘要
赤塚忠
荀子研究的若干的問題………………………………… 85 摘要
菅本大二
荀子對法家思想的接納：由「禮」的結構來考察…… 111 摘要
尤銳
荀子對春秋思想傳統的重新詮釋 ………………………137 全文
莊錦章
荀子與四種人性論觀點 …………………………………185 摘要
投稿須知及論文體例 ………………………………………211
Style Guide and Information for Authors…………………… 217
《國立政治大學哲學學報》一~十一期索引 ………………219
第十一期 中華民國九十二年十二月
Vol. 11 / December 2003
道家禪學 海德格與當代藝術
陀斯妥耶夫斯基哲學
Epicurean Political Philosophy
神聖與世俗 by M. Eliade
責任及控制 北京華夏
Fred Sommers - The logic of natural language - Oxford, Clarendon Press, 1982
[PDF]
Understanding:A Phenomenological-Pragmatic Analysis. By Gary B ...
Ga r yB. Madison, Understanding: A Phenomenological-Pragmatic Analysis (West- port, Conn.: Greenwood Press, 1982). The Review of Austrian Economics, Vol.
經濟新潮出版社的一些因緣
感謝博華贈四本經濟新潮出版社的書
《關懷的力量》
米爾頓‧梅洛夫(Milton Mayeroff)
《了解總體經濟的第一本書：想要看懂全球經濟變化，你必須懂這些》
大衛‧莫斯(David A. Moss)
《從負責到當責：我還能做些什麼，把事情做對、做好？》
羅傑．康納斯 和 湯瑪斯．史密斯(Roger Connors & Thomas Smith)
《鍛鍊你的策略腦：想要出奇制勝，你需要的其實是insight》
御立尚資(Takashi Mitachi)
20110317
以及一些版權事情
我說他前年錯過10年周慶 (百本書)的慶祝
他說15年後會有期
我說很巧今晨有位精實革命的讀者來向我免費諮詢
我說的當然都是書中沒有的重要事情
《精實革命：消除浪費、創造獲利的有效方法》
詹姆斯‧沃馬克(James P. Womack)丹尼爾‧瓊斯
我們曾為此書開讀書會
《A級人生：打破成規、激發潛能的12堂課》
羅莎姆．史東．山德爾(Rosamund Stone Zander)班傑明．山德爾(Benjamin Zander)
內容簡介
本書的兩位作者，一位是「知名的音樂指揮家」，一位是「企業教練╱心理治療師」，他們帶來非常精采的人生故事，可以幫助每一個人發揮自我的潛能。例如：
關於人生（「全都是編造而來」）：
有一家鞋廠派了兩名行銷人員到非洲去，研究開拓市場的前景如何。其中一位發了電報回來說：「完全無望句點因為沒人穿鞋」。另一位則是得意洋洋地說：「前 途光明商機無限句點他們根本沒有鞋」。 相由心生。他們帶著自己的眼界來到現場，回頭說的卻是截然不同的故事。人生，是創造出來的；人生，就看你要說什麼樣的故事。
12. 關於領導（「人人都是領導者」的故事）：
經過二十年的指揮生涯，我終於領悟到，交響樂團的指揮在演出當中並沒有發出任何聲音。他的照片或許會出現在CD的封面上，上面的姿勢千奇百怪，但是他真 正的力量在於，他有能力讓別人產生力量。領導者的成功不在於賣弄其個人技巧，而在讓其「部屬」盡情地發揮所能。任何組織的領導者也應該這樣，協助部屬釋放 潛能。
3.關於激勵（「給一個A」的故事）：
每學期開始的第一堂課，我都會告訴所有的學生說：「大家都會得到A。」 條件只有一個，就是每位學生都要寫給我一封信，開頭是「我拿到了A，因為我……」也就是說，學生們在學期開始的時候就要告訴我，學期結束時，他們會做到、 學到哪些事情，成為什麼樣的人，才有資格拿到A的成績。打分數、評量式的教育，最大的問題是，學生們會不敢冒險，放棄其他可能性，答案只有正確答案，而且 會產生競爭的心態。在課堂中、生活裡，如何啟發想像力、責任感，「給一個A」給我們很好的啟示。
4.關於放輕鬆（「第六號規則」的故事）
「如果你出了錯……一隻五百磅重的母牛就會掉在你頭上。」 我們在這個充滿競爭的世界裡，很容易把自己培養成「算計的自我」，也就是把每一件事都看得很嚴重，不能出錯。如何放輕鬆？這是一個好例子。
這本書的12堂課，可以幫助我們打開自我的可能性（潛能），讓我們在人際關係、領導力、為人處事、面對困境、衝突時能更圓融，有效跨越人生的障礙。在混 沌人世間，我們經常會找不到方向，手足無措，例如當你面對一個難纏的人，你決定「給一個A」，然後發現問題不再是問題；眼前發生了嚴重的阻礙，彷彿世界末 日來臨，想想「第六號規則」，你決定不要那麼正經八百，發現這不過是玩笑一場——每一堂課都是個人與組織轉化、成長的機會。
作者簡介
羅莎姆．史東．山德爾(Rosamund Stone Zander)
是一位企業教練與家庭系統治療師。山德爾女士為企業與政府機構設計過一些課程，並主持過許多工作坊，包括亞斯本國際菁英組織(Aspen Institute)、英國市政機關、美國國家公共電台、世界經濟論壇等。她也是一位畫家，1981年的首次個展展出其風景畫。她的網址是 http://www.rosamundzander.com/
班傑明．山德爾(Benjamin Zander))
是知名的指揮家，從1979年開始即擔任波士頓愛樂管弦樂團(Boston Philharmonic)的指揮。他與倫敦愛樂有定期合作，並錄製了完整的貝多芬與馬勒的交響曲，由Telarc唱片公司發行。他在波士頓的新英格蘭音 樂學院(New England Conservatory)任教超過三十年。
山德爾生於英格蘭，九歲開始作曲，曾經師事班傑明．布 烈頓(Benjamin Britten)與伊默根．郝斯特(Imogen Holst)，並接受大提琴宗師卡薩多(Gaspar Cassado)的指導。除了音樂方面的發展之外，過去十年來，山德爾常被各大機構邀請演說，闡述他的領導方法與創意。由於在跨文化理解上的傑出貢獻，他 獲得1999年在瑞士戴佛斯(Davos)舉辦的世界經濟論壇的「水晶獎」。他的網址是http://www.benjaminzander.com/
最近，資優教育、學生補習的問題引起社會關注，然而追本溯源，問題出在「升學主義」、「分數至上」的觀念根深柢固。
其實，每個孩子都是寶，也都有他的獨特之處。
應該救起每一個孩子，不要讓「成績」主宰了他們的人生。這讓我想到「給一個A」的故事：
米開朗基羅的話經常被人引用，他說：
在每一塊石頭或大理石裡， 都住著一座美麗的雕像，
你只要除去多餘的材質，就可以顯現它內在的藝術。
如果我們把這個充滿智慧的觀念應用在教育上，
就不應該在孩子之間「做比較」。
其實，所有的精力都應該用在切割石塊上，
去除孩子的障礙，
讓每個孩子都能夠培養技能，熟練精通，有能力表達自己。
我們稱這個法門為「給一個Ａ」。
這是一種令人充滿朝氣地、親近人的方法，
是一種態度上的轉變，
讓你可以自由自在地談論自己的想法與感覺，
也支持別人成為他們夢想中的自己。
當你「給一個Ａ」， 你會發現自己不是從測量的角度出發，
不是以你的標準在衡量他們的表現如何，
而是站在一個尊重他們的位置， 讓他們有實現自我的空間。
你的焦點是放在那個粗糙未經琢磨的石塊裡面的雕像。
假如我們從一開始就給每個學生一個Ａ，結果會怎樣？
每學期的第一堂課，
我都會告訴所有的學生說：「大家都會得到A。」
條件只有一個，
就是每個學生都要寫一封信給我，
一開頭是：「親愛的山德爾老師，我拿到了A，因為……」
也就是說，學生們在學期開始的時候就要告訴我，
他們會做到、學到哪些事情，
成為什麼樣的人，
才有資格拿到A的成績。
在最初幾個星期，
一個來自臺灣的學生舉手了。
「在臺灣，」他說：
「我在一個70個人的班上排名第68。
我來到波士頓，山德爾老師說我是個得到Ａ的學生。
我不懂……我第68名，可是山德爾老師說我是個得到Ａ的學生……
有一天， 我發現這比第68名快樂多了。 所以我決定，我是一個拿Ａ的學生。」
這個學生在一片光亮之中，撞見了「生命的祕密」。
他了解這全是編造而來， 只是遊戲一場。 第68名是編造的， Ａ也是編造的， 因此我們也可以編造一些東西， 好照亮我們自己和身邊的人的生命。
「Ａ」帶有一種測量的感覺， 但我們提議給一個Ａ，並不是要用一些標準來測量人們的表現。
打從我們小時候開始， 分數便讓我們的意識產生一些僵化的判斷， 而我們給這個Ａ，> 就是要巧妙去除這些判斷所造成的箝制。
這個Ａ是一種發明， 它可以為老師和學生、雇主與員工， 以及任何人類之間的互動創造出潛境（possibility）。
> 給你自己一個Ａ，並不是要你自我吹噓， 不是要你朗誦自己的成就。 自由給予的Ａ可以讓你脫離「成敗的階梯」， 讓你可以看到自己的全部， 成就真正的自己， 不用去反抗或拒絕自己的任何一部分。
當我們「給一個Ａ」，我們可能在面對一個和自己截然不同的人時，也能完全地開放。
> ----摘自《A級人生：打破常規、發揮潛能的12堂課》第三章，經濟新潮社出版
20130720_週末我看
近年來對我在教學上最具啟發的演講: 古典樂與發亮的雙眼 --
Benjamin Zander: The transformative power of classical music
Ben Zander 波士頓愛樂管弦樂團指揮家談古典樂所具備的改變力量並以獨樹一格的演講風格展現教育家所擁有的啟發力道.
我特別喜歡 17:23 起他所說的親身故事, 關於 "明亮的雙眼"與 "集中營女士"所說的故事.
我並且希望將 19:00 起"集中營女士"的故事以及它的涵意, 關於 "從我們的嘴巴裡說出來的話"獻給我的朋友 Vicky Lai與 Sharon Chen. 謝謝你們對我的包涵.
http://www.youtube.com/watch?v=HBN-EAFQTPE
*Benjamin Zander (班傑明．山德爾)，波士頓愛樂管弦樂團 (Boston Philharmonic), 青年樂團 (The Youth Philharmonic) 指揮家, 新英格蘭音樂學院 (The New England Conservatory of Music) 榮譽教授
+完整文本:
"Music and Passion"
Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet." (Laughter)
Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight -- an experiment. Actually, it's not really an experiment, because I know the outcome.
But it's like an experiment. Now, before we -- (Laughter) -- before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this. (Piano) I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this. (Piano) Then he practices for another year and takes lessons -- now he's nine. (Piano) Then he practices for another and takes lessons -- now he's 10. (Piano) At that point, they usually give up. (Laughter) (Applause) Now, if you'd waited, if you'd waited for one more year, you would have heard this. (Piano)
Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note. (Piano) And the second, with an impulse every other note. (Piano) You can see it by looking at my head. (Laughter) The nine-year-old put an impulse on every four notes. (Piano) And the 10-year-old, on every eight notes. (Piano) And the 11-year-old, one impulse on the whole phrase. (Piano)
I know -- I don't know how we got into this position. (Laughter) I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing. (Piano) It can be the other buttock. (Piano) You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. And I was working with this young pianist and I said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." And I moved his body like that, while he was playing. And suddenly, the music took off. It took flight. There was a gasp in the audience when they heard the difference. And then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company." (Laughter)
Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. And you have CDs in your car, and you go to the symphony. And your children are playing instruments. You can't imagine your life without classical music. That's the first group; it's quite a small group. Then there's another group, bigger group. These are the people who don't mind classical music. (Laughter) You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. (Laughter) That's the second group. Now comes the third group. These are the people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport, but -- (Laughter) -- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group of all.
And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf." (Laughter) Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.
But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and [are] passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.
Now, you notice that there is not the slightest doubt in my mind that this is going to work if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it." (Laughter)
All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it. (Music) Do you know what I think probably happened in this room? When I started, you thought, "How beautiful that sounds." (Music) "I don't think we should go to the same place for our summer holidays next year." (Laughter) It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course -- (Applause) -- and of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.
But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it. (Music) And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.
So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it? (Laughter) Composers know that. If they want sad music, they just play those two notes. (Music) But basically, it's just a B, with four sads. (Laughter) Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next? Oh, that might have been a fluke. Let's try it again. Ooh, the TED choir. (Laughter) And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da. Everybody knows, who's expecting that E.
Now, Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember Hamlet? Act one, scene three, he finds out that his uncle killed his father. You remember, he keeps on going up to his uncle and almost killing him. And then he backs away, and he goes up to him again and almost kills him. And the critics, all of whom are sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." (Laughter) Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid. That's why Shakespeare puts all that stuff in Hamlet -- you know, Ophelia going mad and the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay -- until act five, he can kill him.
It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited. (Piano) That's excitement, you don't have to worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, (Piano) and instead he does ... (Piano) Now, we call that a deceptive cadence, because it deceives us. I always tell my students, "If you have a deceptive cadence, be sure to raise your eyebrows. Then everybody will know." (Laughter) (Applause) Right. So, he gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... (Piano) There was a gentleman in the front row who went, "Mmm." It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home." Because we all know where home is.
So this is a piece which goes from away to home. And I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing. (Laughter) Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.
You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. That's what kept -- this is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time follow the line all the way from B to E, and you'll hear everything that Chopin had to say. (Music) (Applause)
Now, you may be wondering, you may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. And I did exactly what I did with you, and I told them and explained them and the whole thing. And at the end, they went crazy, clapping. They were clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of the little kids said, "Because we were listening." (Laughter) Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now that is something. Now, am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure. But I tell you what happened to me.
I was in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ... " (Laughter) He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And you know, it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.
Now, how would you walk -- because you know, my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over. I say, "How would you walk? How would you talk? How would you be? If you thought, three percent of the population likes classical music, if only we could move it to four percent. How would you walk? How would you talk? How would you be? If you thought, everybody loves classical music -- they just haven't found out about it yet." (Laughter) See, these are totally different worlds.
Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD -- (Laughter) -- but the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life changing. People in my orchestra came up to me and said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. And you know how you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes. (Laughter) Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being, that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.
Now, we're all about to end this magical, on-the-mountain week, and we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old, and her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. And I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?'" The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into. Thank you. (Applause) Shining eyes, shining eyes. Thank you, thank you. (Music)
http://dotsub.com/view/a5aa3af4-6c93-43f8-9fca-599fc3a947a9/viewTranscript/eng
Benjamin Zander on music and passion(中文字幕)
www.youtube.com
The transformative power of classical music
【TED演講】古典音樂的魅力
「沒有人是音痴，如果你是音痴，你就不會換檔開車，你也無法分辨誰是德州來的還是羅馬來的...如果你是音痴，當你媽打電話來跟你說“哈囉”時，你根本無法辨認媽媽當時的心情...你有一對神奇的耳朵，所以，沒有一個人是音痴。」
【TED】演講者－Benjamin Zander（波斯頓愛樂交響樂團指揮家、音樂教育者），來告訴大家古典音樂的魅力在哪裡，每一個人都具有古典音樂的欣賞能力，Benjamin Zander使用蕭邦的序曲（Frédéric Chopin - Prelude in E-Minor op.28 no. 4）為例，以有趣的方式讓大家輕鬆的了解曲式和聲！
演講演片雖然長20分鐘，但是非常的具有意義，粉絲們看了一定會受益良多，古典音樂為生活增添許多色彩，讓鮮少接觸古典音樂的粉絲，對它改觀並且愛上！
「音樂是為每個人的The classical music is FOR everyone」－Benjamin Zander
影片來源：http://bit.ly/1Bfpety（有中文字幕）
TED網站：http://bit.ly/1C7rwAw
A級人生：突破限制、創造人生的12堂課 2005
羅 莎姆‧史東‧山德爾、班傑明‧山德爾◎著 翻開這本書，您會驚訝地發現，一位音樂家、一位心理治療師，這本書一共有12堂課，讓我們可以打開自我的可能性（潛能），讓我們在人際關係、領導力、為人 處事、面對困境、衝突時能更圓融、有效跨越人生的障礙。書中有許多幽默、令人會心一笑的故事，都出自兩位作者的親身體驗。
這本書所談的，超越一般商業書的範圍，談更多人與人的關係、人與環境、人與自我的關係。談的是「人的修練」。可以帶給我們多麼豐富的人生智慧。
近年來對我在教學上最具啟發的演講: 古典樂與發亮的雙眼 --
Benjamin Zander: The transformative power of classical music
Ben Zander 波士頓愛樂管弦樂團指揮家談古典樂所具備的改變力量並以獨樹一格的演講風格展現教育家所擁有的啟發力道.
我特別喜歡 17:23 起他所說的親身故事, 關於 "明亮的雙眼"與 "集中營女士"所說的故事.
我並且希望將 19:00 起"集中營女士"的故事以及它的涵意, 關於 "從我們的嘴巴裡說出來的話"獻給我的朋友 Vicky Lai與 Sharon Chen. 謝謝你們對我的包涵.
http://www.youtube.com/watch?v=HBN-EAFQTPE
*Benjamin Zander (班傑明．山德爾)，波士頓愛樂管弦樂團 (Boston Philharmonic), 青年樂團 (The Youth Philharmonic) 指揮家, 新英格蘭音樂學院 (The New England Conservatory of Music) 榮譽教授
+完整文本:
"Music and Passion"
Probably a lot of you know the story of the two salesmen who went down to Africa in the 1900s. They were sent down to find if there was any opportunity for selling shoes, and they wrote telegrams back to Manchester. And one of them wrote, "Situation hopeless. Stop. They don't wear shoes." And the other one wrote, "Glorious opportunity. They don't have any shoes yet." (Laughter)
Now, there's a similar situation in the classical music world, because there are some people who think that classical music is dying. And there are some of us who think you ain't seen nothing yet. And rather than go into statistics and trends, and tell you about all the orchestras that are closing, and the record companies that are folding, I thought we should do an experiment tonight -- an experiment. Actually, it's not really an experiment, because I know the outcome.
But it's like an experiment. Now, before we -- (Laughter) -- before we start, I need to do two things. One is I want to remind you of what a seven-year-old child sounds like when he plays the piano. Maybe you have this child at home. He sounds something like this. (Piano) I see some of you recognize this child. Now, if he practices for a year and takes lessons, he's now eight and he sounds like this. (Piano) Then he practices for another year and takes lessons -- now he's nine. (Piano) Then he practices for another and takes lessons -- now he's 10. (Piano) At that point, they usually give up. (Laughter) (Applause) Now, if you'd waited, if you'd waited for one more year, you would have heard this. (Piano)
Now, what happened was not maybe what you thought, which is, he suddenly became passionate, engaged, involved, got a new teacher, he hit puberty, or whatever it is. What actually happened was the impulses were reduced. You see, the first time, he was playing with an impulse on every note. (Piano) And the second, with an impulse every other note. (Piano) You can see it by looking at my head. (Laughter) The nine-year-old put an impulse on every four notes. (Piano) And the 10-year-old, on every eight notes. (Piano) And the 11-year-old, one impulse on the whole phrase. (Piano)
I know -- I don't know how we got into this position. (Laughter) I didn't say, "I'm going to move my shoulder over, move my body." No, the music pushed me over, which is why I call it one-buttock playing. (Piano) It can be the other buttock. (Piano) You know, a gentleman was once watching a presentation I was doing, when I was working with a young pianist. He was the president of a corporation in Ohio. And I was working with this young pianist and I said, "The trouble with you is you're a two-buttock player. You should be a one-buttock player." And I moved his body like that, while he was playing. And suddenly, the music took off. It took flight. There was a gasp in the audience when they heard the difference. And then I got a letter from this gentleman. He said, "I was so moved. I went back and I transformed my entire company into a one-buttock company." (Laughter)
Now, the other thing I wanted to do is to tell you about you. There are 1,600 people, I believe. My estimation is that probably 45 of you are absolutely passionate about classical music. You adore classical music. Your FM is always on that classical dial. And you have CDs in your car, and you go to the symphony. And your children are playing instruments. You can't imagine your life without classical music. That's the first group; it's quite a small group. Then there's another group, bigger group. These are the people who don't mind classical music. (Laughter) You know, you've come home from a long day, and you take a glass of wine, and you put your feet up. A little Vivaldi in the background doesn't do any harm. (Laughter) That's the second group. Now comes the third group. These are the people who never listen to classical music. It's just simply not part of your life. You might hear it like second-hand smoke at the airport, but -- (Laughter) -- and maybe a little bit of a march from "Aida" when you come into the hall. But otherwise, you never hear it. That's probably the largest group of all.
And then there's a very small group. These are the people who think they're tone-deaf. Amazing number of people think they're tone-deaf. Actually, I hear a lot, "My husband is tone-deaf." (Laughter) Actually, you cannot be tone-deaf. Nobody is tone-deaf. If you were tone-deaf, you couldn't change the gears on your car, in a stick shift car. You couldn't tell the difference between somebody from Texas and somebody from Rome. And the telephone. The telephone. If your mother calls on the miserable telephone, she calls and says, "Hello," you not only know who it is, you know what mood she's in. You have a fantastic ear. Everybody has a fantastic ear. So nobody is tone-deaf.
But I tell you what. It doesn't work for me to go on with this thing, with such a wide gulf between those who understand, love and [are] passionate about classical music, and those who have no relationship to it at all. The tone-deaf people, they're no longer here. But even between those three categories, it's too wide a gulf. So I'm not going to go on until every single person in this room, downstairs and in Aspen, and everybody else looking, will come to love and understand classical music. So that's what we're going to do.
Now, you notice that there is not the slightest doubt in my mind that this is going to work if you look at my face, right? It's one of the characteristics of a leader that he not doubt for one moment the capacity of the people he's leading to realize whatever he's dreaming. Imagine if Martin Luther King had said, "I have a dream. Of course, I'm not sure they'll be up to it." (Laughter)
All right. So I'm going to take a piece of Chopin. This is a beautiful prelude by Chopin. Some of you will know it. (Music) Do you know what I think probably happened in this room? When I started, you thought, "How beautiful that sounds." (Music) "I don't think we should go to the same place for our summer holidays next year." (Laughter) It's funny, isn't it? It's funny how those thoughts kind of waft into your head. And of course -- (Applause) -- and of course, if the piece is long and you've had a long day, you might actually drift off. Then your companion will dig you in the ribs and say, "Wake up! It's culture!" And then you feel even worse.
But has it ever occurred to you that the reason you feel sleepy in classical music is not because of you, but because of us? Did anybody think while I was playing, "Why is he using so many impulses?" If I'd done this with my head you certainly would have thought it. (Music) And for the rest of your life, every time you hear classical music, you'll always be able to know if you hear those impulses.
So let's see what's really going on here. We have a B. This is a B. The next note is a C. And the job of the C is to make the B sad. And it does, doesn't it? (Laughter) Composers know that. If they want sad music, they just play those two notes. (Music) But basically, it's just a B, with four sads. (Laughter) Now, it goes down to A. Now to G. And then to F. So we have B, A, G, F. And if we have B, A, G, F, what do we expect next? Oh, that might have been a fluke. Let's try it again. Ooh, the TED choir. (Laughter) And you notice nobody is tone-deaf, right? Nobody is. You know, every village in Bangladesh and every hamlet in China -- everybody knows: da, da, da, da -- da. Everybody knows, who's expecting that E.
Now, Chopin didn't want to reach the E there, because what will have happened? It will be over, like Hamlet. Do you remember Hamlet? Act one, scene three, he finds out that his uncle killed his father. You remember, he keeps on going up to his uncle and almost killing him. And then he backs away, and he goes up to him again and almost kills him. And the critics, all of whom are sitting in the back row there, they have to have an opinion, so they say, "Hamlet is a procrastinator." (Laughter) Or they say, "Hamlet has an Oedipus complex." No, otherwise the play would be over, stupid. That's why Shakespeare puts all that stuff in Hamlet -- you know, Ophelia going mad and the play within the play, and Yorick's skull, and the gravediggers. That's in order to delay -- until act five, he can kill him.
It's the same with the Chopin. He's just about to reach the E, and he says, "Oops, better go back up and do it again." So he does it again. Now, he gets excited. (Piano) That's excitement, you don't have to worry about it. Now, he gets to F-sharp, and finally he goes down to E, but it's the wrong chord -- because the chord he's looking for is this one, (Piano) and instead he does ... (Piano) Now, we call that a deceptive cadence, because it deceives us. I always tell my students, "If you have a deceptive cadence, be sure to raise your eyebrows. Then everybody will know." (Laughter) (Applause) Right. So, he gets to E, but it's the wrong chord. Now, he tries E again. That chord doesn't work. Now, he tries the E again. That chord doesn't work. Now, he tries E again, and that doesn't work. And then finally ... (Piano) There was a gentleman in the front row who went, "Mmm." It's the same gesture he makes when he comes home after a long day, turns off the key in his car and says, "Aah, I'm home." Because we all know where home is.
So this is a piece which goes from away to home. And I'm going to play it all the way through and you're going to follow. B, C, B, C, B, C, B -- down to A, down to G, down to F. Almost goes to E, but otherwise the play would be over. He goes back up to B. He gets very excited. Goes to F-sharp. Goes to E. It's the wrong chord. It's the wrong chord. It's the wrong chord. And finally goes to E, and it's home. And what you're going to see is one-buttock playing. (Laughter) Because for me, to join the B to the E, I have to stop thinking about every single note along the way, and start thinking about the long, long line from B to E.
You know, we were just in South Africa, and you can't go to South Africa without thinking of Mandela in jail for 27 years. What was he thinking about? Lunch? No, he was thinking about the vision for South Africa and for human beings. That's what kept -- this is about vision. This is about the long line. Like the bird who flies over the field and doesn't care about the fences underneath, all right? So now, you're going to follow the line all the way from B to E. And I've one last request before I play this piece all the way through. Would you think of somebody who you adore, who's no longer there? A beloved grandmother, a lover -- somebody in your life who you love with all your heart, but that person is no longer with you. Bring that person into your mind, and at the same time follow the line all the way from B to E, and you'll hear everything that Chopin had to say. (Music) (Applause)
Now, you may be wondering, you may be wondering why I'm clapping. Well, I did this at a school in Boston with about 70 seventh graders, 12-year-olds. And I did exactly what I did with you, and I told them and explained them and the whole thing. And at the end, they went crazy, clapping. They were clapping. I was clapping. They were clapping. Finally, I said, "Why am I clapping?" And one of the little kids said, "Because we were listening." (Laughter) Think of it. 1,600 people, busy people, involved in all sorts of different things, listening, understanding and being moved by a piece by Chopin. Now that is something. Now, am I sure that every single person followed that, understood it, was moved by it? Of course, I can't be sure. But I tell you what happened to me.
I was in Ireland during the Troubles, 10 years ago, and I was working with some Catholic and Protestant kids on conflict resolution. And I did this with them -- a risky thing to do, because they were street kids. And one of them came to me the next morning and he said, "You know, I've never listened to classical music in my life, but when you played that shopping piece ... " (Laughter) He said, "My brother was shot last year and I didn't cry for him. But last night, when you played that piece, he was the one I was thinking about. And I felt the tears streaming down my face. And you know, it felt really good to cry for my brother." So I made up my mind at that moment that classical music is for everybody. Everybody.
Now, how would you walk -- because you know, my profession, the music profession doesn't see it that way. They say three percent of the population likes classical music. If only we could move it to four percent, our problems would be over. I say, "How would you walk? How would you talk? How would you be? If you thought, three percent of the population likes classical music, if only we could move it to four percent. How would you walk? How would you talk? How would you be? If you thought, everybody loves classical music -- they just haven't found out about it yet." (Laughter) See, these are totally different worlds.
Now, I had an amazing experience. I was 45 years old, I'd been conducting for 20 years, and I suddenly had a realization. The conductor of an orchestra doesn't make a sound. My picture appears on the front of the CD -- (Laughter) -- but the conductor doesn't make a sound. He depends, for his power, on his ability to make other people powerful. And that changed everything for me. It was totally life changing. People in my orchestra came up to me and said, "Ben, what happened?" That's what happened. I realized my job was to awaken possibility in other people. And of course, I wanted to know whether I was doing that. And you know how you find out? You look at their eyes. If their eyes are shining, you know you're doing it. You could light up a village with this guy's eyes. (Laughter) Right. So if the eyes are shining, you know you're doing it. If the eyes are not shining, you get to ask a question. And this is the question: who am I being, that my players' eyes are not shining? We can do that with our children, too. Who am I being, that my children's eyes are not shining? That's a totally different world.
Now, we're all about to end this magical, on-the-mountain week, and we're going back into the world. And I say, it's appropriate for us to ask the question, who are we being as we go back out into the world? And you know, I have a definition of success. For me, it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
So now, I have one last thought, which is that it really makes a difference what we say -- the words that come out of our mouth. I learned this from a woman who survived Auschwitz, one of the rare survivors. She went to Auschwitz when she was 15 years old, and her brother was eight, and the parents were lost. And she told me this, she said, "We were in the train going to Auschwitz, and I looked down and saw my brother's shoes were missing. And I said, 'Why are you so stupid, can't you keep your things together for goodness' sake?'" The way an elder sister might speak to a younger brother. Unfortunately, it was the last thing she ever said to him, because she never saw him again. He did not survive. And so when she came out of Auschwitz, she made a vow. She told me this. She said, "I walked out of Auschwitz into life and I made a vow. And the vow was, I will never say anything that couldn't stand as the last thing I ever say." Now, can we do that? No. And we'll make ourselves wrong and others wrong. But it is a possibility to live into. Thank you. (Applause) Shining eyes, shining eyes. Thank you, thank you. (Music)
http://dotsub.com/view/a5aa3af4-6c93-43f8-9fca-599fc3a947a9/viewTranscript/eng
Benjamin Zander on music and passion(中文字幕)
www.youtube.com
The transformative power of classical music
【TED演講】古典音樂的魅力
「沒有人是音痴，如果你是音痴，你就不會換檔開車，你也無法分辨誰是德州來的還是羅馬來的...如果你是音痴，當你媽打電話來跟你說“哈囉”時，你根本無法辨認媽媽當時的心情...你有一對神奇的耳朵，所以，沒有一個人是音痴。」
【TED】演講者－Benjamin Zander（波斯頓愛樂交響樂團指揮家、音樂教育者），來告訴大家古典音樂的魅力在哪裡，每一個人都具有古典音樂的欣賞能力，Benjamin Zander使用蕭邦的序曲（Frédéric Chopin - Prelude in E-Minor op.28 no. 4）為例，以有趣的方式讓大家輕鬆的了解曲式和聲！
演講演片雖然長20分鐘，但是非常的具有意義，粉絲們看了一定會受益良多，古典音樂為生活增添許多色彩，讓鮮少接觸古典音樂的粉絲，對它改觀並且愛上！
「音樂是為每個人的The classical music is FOR everyone」－Benjamin Zander
影片來源：http://bit.ly/1Bfpety（有中文字幕）
TED網站：http://bit.ly/1C7rwAw
A級人生：突破限制、創造人生的12堂課 2005
羅 莎姆‧史東‧山德爾、班傑明‧山德爾◎著 翻開這本書，您會驚訝地發現，一位音樂家、一位心理治療師，這本書一共有12堂課，讓我們可以打開自我的可能性（潛能），讓我們在人際關係、領導力、為人 處事、面對困境、衝突時能更圓融、有效跨越人生的障礙。書中有許多幽默、令人會心一笑的故事，都出自兩位作者的親身體驗。
這本書所談的，超越一般商業書的範圍，談更多人與人的關係、人與環境、人與自我的關係。談的是「人的修練」。可以帶給我們多麼豐富的人生智慧。