中英文稿

我一生熱愛音樂，?不論是我創(chuàng)作的還是我聽到的音樂。?但是，作為一個(gè)聽眾，?我有時(shí)會(huì)覺得歌曲就像是一座座房子，?一座座只能從街上看到的房子。?你可以停下腳步， 從外面欣賞這些房子。?你會(huì)說，“哇，瞧瞧， 這個(gè)建筑簡直令人嘆為觀止?！?你也許可以透過窗戶， 向里面瞥上幾眼，?但是你只能從遠(yuǎn)處欣賞它的美，?因?yàn)樗⒉粸槟闼小?/p>

作為一名音樂家， 當(dāng)你發(fā)布了一首歌，?有時(shí)卻會(huì)覺得像是被困在了?自己蓋的這所房子的后院里。?也許有人在觀望這所房子，?但是，你沒有機(jī)會(huì)向他們 展示房子里有些什么。?一首歌里包含了所有想象、 創(chuàng)作和錄制下來的東西，?這些東西極富思想和美感，?但是只有創(chuàng)作這首歌的人?才能獨(dú)自聽到這些片段。?所有這些片段都在最終版本中 融合在了一起。

每當(dāng)我推出一首歌， 我就會(huì)感到些許悲傷，?因?yàn)闆]有人能夠聽到?我在創(chuàng)作時(shí)所聽到的那些片段。

讓我來解釋一下我的意思， 下面這個(gè)片段來自我創(chuàng)作的一首歌。

（輕柔的吉他演奏曲）

（大提琴演奏的悠揚(yáng)旋律）

你在聽到這些音樂時(shí)，有什么感受？?你可能喜歡這段音樂， 也可能討厭它，?你或許會(huì)說，“我太清楚，哥們兒，?這首歌只有 20 秒， 你想要我說什么？”?確實(shí)是這樣。?我不可能指望別人， 聽到我所聽到的東西，?我指的不僅僅是大提琴演奏、 吉他演奏或者鼓點(diǎn)，?它還包括了，我為了創(chuàng)作出這部音樂?而經(jīng)歷的一切。

所以 2014 年， 我開始制作一檔節(jié)目，?試圖消除創(chuàng)作者和觀眾之間的距離。?我就音樂家們所創(chuàng)作的一首歌曲， 對他們進(jìn)行采訪，?然后將其與歌曲中 不同層次的音樂相結(jié)合，?這樣就完成了歌曲的創(chuàng)作。?我認(rèn)為這樣， 藝術(shù)家就可以把聽眾請進(jìn)來，?帶他們參觀自己建造的這座房子。?他們可以指著房子的地基說，?“這首歌就是這樣開始的?！?然后，在上面加上越來越多的層次，?最后就呈現(xiàn)出完整的歌曲。?這個(gè)節(jié)目叫 《金曲大解密（Song Exploder）》。?它是一個(gè)播客——

《金曲大解密》是一個(gè)播客，?也是我為網(wǎng)飛（Netflix）改編的電視節(jié)目.?這些年來，我和世界上 一些最大牌的音樂家?聊過他們的作品。?比如，佛利伍·麥克、U2、 林-曼努爾·米蘭達(dá)、艾莉西亞·凱斯、?比莉·艾利什、The Roots樂隊(duì)、馬友友 和其他 200 位音樂家。

起初，為了探索各自“屋子”的內(nèi)部狀況，?我只關(guān)注音樂作品。?但是，就在我與這些人 談?wù)撍麄兊母枨鷷r(shí)，?事情開始不一樣了。?我意識到，?在談話中就可以發(fā)現(xiàn)一個(gè)個(gè)“房間”，?可以打開一扇扇“門”。?于是我開始想?我是否可以試著用聽音樂的方法?去傾聽別人的談話？?因?yàn)?，?dāng)某人向你傾訴時(shí)， 就如同一首歌，?傾訴中包含了所有這些層次。?里面全是你忽視的背景信息，?你就像是街邊站在房子外面的那個(gè)人。

所以，為了進(jìn)入房子的內(nèi)部， 我必須留意那些瞬間，?注意傾聽那些可以 提供更多信息的線索，?這些線索暗示了，有些東西隱藏在?最初呈現(xiàn)給我的表象之下。?所以我借用了聆聽音樂的頭腦，?現(xiàn)在，我在談話時(shí)，會(huì)嘗試這樣去做?以開放的心態(tài)對待新思想、?保持專注，?讓對方知道你對談話很投入，?但是不要將焦點(diǎn) 由對方轉(zhuǎn)移到自己身上。

由于制作《金曲大解密》的緣故，?我現(xiàn)在聽的音樂比從前要廣泛許多。?當(dāng)我比現(xiàn)在年輕時(shí)，?我曾為自己在音樂上的勢利心而驕傲，?但是如今，這感覺就像是 我把自己隔絕了起來，?可能聽不到一些了不起的想法。?我認(rèn)為，就傾聽他人意見而言， 這也是先決條件。?你必須以開放、 好奇的心態(tài)深入其中，?并且樂于學(xué)習(xí)新鮮事物。

還有，三心二意的天性雖然很難消除，?但是做到這一點(diǎn)很重要。?你知道, 我們?nèi)缃裨诖蠖鄶?shù)情況下，?是在被動(dòng)地聽音樂。?音樂只是背景音，?是我們在做其他事情時(shí)的背景音樂。?我并不想這么說， 但是電話、智能手表，?乃至漂浮不定的思緒，?都很容易分散我們的注意力，?我們往往也會(huì)以這樣的方式 傾聽別人的談話。?但是，如果是這樣的話， 你就不可能真正地沉靜其中。?想象一下，試著聽一首歌，?同時(shí)在腦子里哼著另一首歌，?你不大可能做得到， 或者不可能做得很好。?所以，你如果在想其他的事情，?就不可能完全理解別人在說些什么。

我還堅(jiān)信，非語言交流 有著強(qiáng)大的力量。?比如，通過點(diǎn)頭 這樣一個(gè)簡單的動(dòng)作，?你就可以讓對方知道 你投入到了交流之中，?并且鼓勵(lì)他們繼續(xù)說下去，?這種有意的、投入式的沉默， 給了他們更多發(fā)揮的空間，

不過有時(shí)候，你確實(shí)需要詢問更多信息，?你需要這些信息把故事勾勒出來。?不過，你要是直接問他們話中的深意，?你可能就打開了他們的話匣子。?他們便開始就你問的問題講更多，?這也意味著你要忍住， 那種想要談?wù)撟约旱谋灸堋?我之前以為， 這是顯示我在認(rèn)真聽別人講話?最好的方式。?當(dāng)別人告訴我一些事，?我就說：“這讓我想到了 類似的發(fā)生在我身上的事?！?然后我就開始講我自己的故事，?但是這就好像聽了一半的歌。?你說： “你知道嗎？ 這讓我想起了另一首歌?！?然后關(guān)掉第一首歌，開始播放其他歌曲，?這也是我做過的事情。

如果你像這樣淺嘗輒止， 你就無法深入，?所以這對你的耐心， 對你想談?wù)撟约旱淖运叫膽B(tài)，?以及投入不涉及你的對話， 都是一種挑戰(zhàn)。

好的，那現(xiàn)在請你忽視掉， 那些要你談?wù)撟约旱慕ㄗh，?現(xiàn)在我想談?wù)勎易约骸?告訴你們一些關(guān)于我的事， 以及關(guān)于我剛剛為你們播放的歌曲，?希望我能表述清楚，我想表達(dá)的內(nèi)容。

幾年前，我開始第一次錄歌曲，?我在我的房間一遍又一遍播放我的歌，?我那時(shí)的音樂事業(yè)，并不是那種， 我可以和我父母談?wù)摰尿湴潦聵I(yè)。?他們是努力工作的移民，?希望我將來能成為醫(yī)生或者律師。?但現(xiàn)在時(shí)不時(shí)，?我聽到我媽媽在哼我的歌，?就一個(gè)人在廚房自己哼歌。?那感覺就像某種不言而喻的認(rèn)可。?這些年來，每當(dāng)我聽到我媽媽哼我的歌，?我就很開心。

去年秋天，我媽媽去世了，?在她葬禮幾周后，?我夢到了她，還在夢里和她說話，?還和她四處轉(zhuǎn)了轉(zhuǎn)。?當(dāng)我醒來時(shí)，我整個(gè)人 充斥著悲傷和對她的想念，?還有感激、感謝這個(gè)夢讓我又見到了媽媽。?我最后把這個(gè)夢寫成了一首歌。

（吉他輕柔的伴奏）

（唱歌）見到你真的很開心。

見到你真的很開心，?再次見到你。

在這座橋上，?我沒唱下去了，只是哼著旋律。

（哼唱）

我在想我的媽媽，?想要將她以某種形式， 展現(xiàn)在我的音樂里。

我曾和一個(gè)人討論過這首歌，?他就是馬友友。?我告訴他，這就是這首歌講述的故事，?這就是這部分音樂應(yīng)該呈現(xiàn)的樣子。?我還問他，你認(rèn)為大提琴的聲音?能夠體現(xiàn)我媽媽的聲音嗎？?他聽完了我說的一切， 然后演奏了這些音符。

（大提琴演奏的悠揚(yáng)旋律）

好，這就是所有聲音混在一起的樣子。

（吉他輕柔的伴奏）

（大提琴演奏的悠揚(yáng)旋律）

所以現(xiàn)在，你在這個(gè)屋子里?聽到這一切的感受是怎么樣的？?每個(gè)對話中， 都可能有更深層次的含義?里面一層又一層的深意， 需要你揭開?就像房間里還有的那些房間一樣。?就個(gè)人而言，我希望我可以繼續(xù) 尋找深入對話的方式，?這樣，在每一次傾聽別人故事的時(shí)候， 我就可以感受到內(nèi)容的深度?以及別人想法中的豐富性。

此時(shí)此刻，我非常感謝 大家傾聽了我的故事，?謝謝你們。

（掌聲）

（演奏輕柔的曲調(diào)）

（唱歌）你呼喚我的名字

“給我點(diǎn)水，親愛的”

這感覺就像從前一樣

像我生命中的?其他任何一個(gè)夜晚一樣

那時(shí)我們住在家里

在夢里，仍然是像家一樣的感覺

我睡到天黑醒來

就這一會(huì)兒

只有你?和我

你現(xiàn)在是夢的一部分

只是有點(diǎn)太遠(yuǎn)了

我依然可以聽到你的聲音

門還半開著

但是我看不到你在哪里

伴著電視的聲音

你在床上?睡著了

你坐起來，看著我

我說我想你了

你說?我知道

我裝裱的這些照片

不是要講述其中的故事

照片里記錄的時(shí)刻

代表著?你對我的意義

你現(xiàn)在是夢的一部分

只是有點(diǎn)太遠(yuǎn)了

我依然可以聽到你的聲音

門還半開著

我猜這就是現(xiàn)在——

你唯一會(huì)出現(xiàn)的地方

我們不得不在陰影下見面

在那里和這里之間

在那里和這里之間

但是，見到你真的很開心

見到你真的很開心?再次見到你

（哼唱輕柔的旋律）

你現(xiàn)在是夢的一部分

只是有點(diǎn)太遠(yuǎn)了

我依然可以聽見你的聲音

門還半開著

我猜，這就是現(xiàn)在——

你唯一會(huì)出現(xiàn)的地方

我們不得不在陰影中見面

在那里和這里之間

在那里和這里之間

謝謝大家。

I've been in love with music my whole life, both as a musician and as a listener. But as a listener, sometimes songs feel a little like houses to me, houses that you can only see from the street. You can stop and admire them from the outside. You can say, "Wow, look, the architecture is amazing. You might be able to get a little peek inside through one of the windows, but it’s this thing of beauty that you have to appreciate from a distance because it's not yours.

And as a musician, when you put a song out into the world, it can sometimes feel like you're trapped in the backyard of this house that you built. There might be people looking at it, but you never get the chance to show them anything inside. Inside a song, there are all these parts that get imagined and written and recorded that are so full of thought and beauty, but only the people who've made the song ever get to hear those pieces on their own. All those pieces get smushed together in the final version that comes out.

Whenever I put out a song, I was always a little sad that no one else was going to get to hear the things that I had heard when I was making it.

Let me show you what I mean. Here's a clip from a song of mine.

(Guitar plays a soft accompaniment)

(Cello plays a flowing melody)

OK. What's your experience when you listen to that? You might like it, maybe, or you might hate it, or you might say, "I don't know, dude, it's 20 seconds of a song, what do you want from me?" Which is fair. What I hear is impossible to expect anyone else to hear. It's not just the cello part and the guitar part and the drum beat. It's also all the things that I lived through in order for that music to exist.

So in 2014, I started a show to try and solve this distance between the creator and the audience. I interviewed musicians about one of their songs and then combined that with the different layers of music that make up that song. I thought this way an artist could bring a listener in and give them a guided tour of this house they made. They could point to the foundation and say, "This is how the song got started." And then as more and more layers get built on top, eventually the full song gets revealed. The show is called "Song Exploder." It's a pod --

“Song Exploder” is a podcast, and it's also a TV show that I adapted for Netflix. And over the years, I've gotten to talk to some of the biggest musicians in the world about their work. People like Fleetwood Mac and U2, Lin-Manuel Miranda, Alicia Keys, Billie Eilish, The Roots and Yo-Yo Ma, and over 200 others.

At first, I was really looking at those isolated pieces of music to do the work of revealing the inside of their respective houses. But as I was having conversations with them about their songs, something happened. I realized that there were rooms to be discovered in the conversations themselves, doors that could be opened. And I started to wonder: Could I try listening to people the way that I was trying to listen to music? Because when someone tells you something, just like with a song, there can be all these layers within it. There can be all this context that you're missing as the person out on the street, outside of the house.

So to get inside, I had to listen for those moments, those clues where there was more to be discovered, where there was something below the surface of what was first presented to me. So I borrowed from my music-listening brain, and now when I’m in a conversation, this is what I try to do. Be open to new ideas. Stop multitasking. Let the other person know that you’re engaged, and do it without taking your focus away from them and turning it onto you.

Because of making "Song Exploder," I now listen to a much wider range of music than I used to. When I was younger, I used to actually pride myself on my music snobbery. But nowadays, it just feels like I'm potentially cutting myself off from hearing some great ideas. And I think that’s a prerequisite when it comes to listening to people, too. You have to go into it open-minded and curious and ready to learn something new.

Also, the instinct to multitask is so hard to turn off, but it's so important that you do it. You know, when you're listening to music these days, most of the time it's something that we do passively. It's in the background. It's the soundtrack to something else that we're doing. And I hate to say it, but between our phones and our smartwatches and just our own wandering thoughts, it's easy to get distracted, and we tend to listen to other people that way, too. But you can't really get immersed if that's the case. Imagine trying to listen to a song while singing a different song in your head. You can't do it or you can't do it well. And you can't fully appreciate what someone else is saying if you're thinking about something else.

I'm also a big believer in the power of nonverbal communication. Like, just the simple act of a nod is a way to let the other person know that you're engaged and also invites them to keep going and say more. That kind of intentional, engaged silence makes space for them.

Sometimes, though, you do have to actually ask for more. You have to draw them out. But if you can ask for what's below the surface of what they just said, you might unlock some door for them and invite them to go through it with you. That also means turning off the instinct to talk about yourself. I used to think that this was actually the best way to show that I was really listening. Someone would tell me something and I’d say, “That reminds me of this thing that happened to me,” and then I would tell a whole story of my own. But it's kind of like listening to half a song and then saying, "Oh, you know, this part reminds me of this other song," and then turning that first song off and going and putting on some other song, which is also something I've done.

But you can't get deeper if you lose the moment like that. So it's a challenge to your impatience and to your selfishness to be engaged without making it about you.

OK, and so now to ignore the advice about talking about yourself. I would like to talk about myself and tell you a little bit about me and that song that I played you a part of to hopefully illustrate what I'm talking about.

Years ago, when I was making my first recordings, I would play my songs over and over and over again in my bedroom. My music career wasn't really something I could talk about with my parents. They were hardworking immigrants whose dream for me had been to become a doctor or a lawyer. But every now and then, I would hear my mom humming one of my songs just to herself in the kitchen. And that felt like some kind of unspoken approval. And over the years, whenever I would hear my mom humming one of my songs, it made me so happy.

Last fall, my mom passed away. And a few weeks after her funeral, I had a dream where I got to see her and talk to her and visit with her for a little bit. And I woke up filled with longing and sadness but also gratitude for this moment and this dream. And I ended up writing a song about it.

(Guitar plays a soft accompaniment)

(Sings) But it's so good to see you.

It's so good to see you, see you again.

In the bridge, I stopped singing for a little bit and I just hummed a melody.

(Humming)

I was thinking about my mom, and I wanted to try and represent her in the music in some way.

One of the people who I talked to about the song while I was making it was Yo-Yo Ma. I told him, this is what the song is about and this is what the music is supposed to do in this part. And I asked him, "Do you think that the cello could represent my mom's voice?" And he listened to everything that I said. And then he played those notes.

(Cello plays a flowing melody)

OK. Here's everything together again.

(Guitar plays a soft accompaniment)

(Cello plays a flowing melody)

So now, what’s your experience when you listen to that from inside the house? Every conversation has the potential to open up and reveal all the layers and layers within it, all those rooms within rooms. And personally, I hope that I can keep looking for those ways in so I can experience the depth and the richness of someone else's ideas every chance I get to hear them.

For now, thanks for listening to mine. Thank you.

(Plays a soft tune)

(Sings) You called out my name

“Bring me some water, my love”

And it all felt the same

As any other night of my life

We lived at home back then

It still feels like home in my sleep

I woke to dark again

For a moment

It was you and me

You’re a piece of a dream now

Just a little too far

I can still hear your voice through

The door left ajar

But can’t see where you are

By the murmuring TV?

You’d fall asleep to in bed

You sat and looked at me

I said I miss you

You said, “I know”

The pictures that I’ve framed

Don’t tell the stories in between

The moments that contain

Who you were really to me

You’re a piece of a dream now

Just a little too far

I can still hear your voice through

The door left ajar

I guess that’s how it is now --

The only place you’ll appear

We'll have to meet in some shadow

Between there and here

Between there and here

But it’s so good to see you

It’s so good to see you See you again

(Hums a soft melody)

You’re a piece of a dream now

Just a little too far

I can still hear your voice through

The door left ajar

I guess that’s how it is now --

The only place you’ll appear

We'll have to meet in some shadow

Between there and here

Between there and here

Thank you.

(Applause)