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And musicians become professionalized and their job is to create music to be listened to for people with leisure.
音乐家变得职业化，他们的工作是创作出供休闲的人们聆听的音乐。
And this is the origin to what we call concerts.
这就是我们所说的音乐会的起源。
To have a concert requires leisure, requires money, and oftentimes, it's the aristocrats or the upper middle class who had the time to sit back and enjoy music performed for them.
举办一场音乐会需要时间和金钱，通常，贵族或中上层阶级才有时间坐下来欣赏为他们演奏的音乐。
For most people over millions of years, that doesn't happen.
数百万年来，对于大多数人来说，并没有资格享受那种服务。
So, the rule is that most music was performed functionally, as we say, "Whistle as you work."
所以，规则是大多数音乐都是功能性的，就像我们说的，“工作时吹口哨”。
Also, it was performed in a participatory way.
而且，它是以一种参与式的方式进行的。
So there was no distinction between those who create the music and those who listened to it.
创作音乐的人和听音乐的人之间并没有区别。
It was the same people.
他们是同一群人。
The idea that we have a composer, we have a listener, is a purely modern invention.
把作曲家和听众完全分开的想法是现代才出现的。
1,000 years ago in 1020, an Italian monk called Guido invents staff notation.
1000年前的1020年，一位名叫圭多的意大利僧人发明了五线谱。
And life was never again the same for Western music.
西方音乐的发展从此被改变。
Why is that so important?
为什么它很重要？
Staff notation was a tool of church control.
五线谱是教会控制的工具。
And through writing chants down, the church could ensure, literally, that monks singing at the furthest outpost of the empire of Christendom, literally sang from the same hymn sheet.
通过把圣歌写下来，教会可以确保，哪怕是在基督教帝国最偏远的地方，僧侣们唱的也是同样的圣歌。
And then, once the empire expands beyond the Mediterranean basin and Cortes invades Mexico in 1519, he takes notation with him.
然后，当帝国扩张到地中海盆地以外，科尔特斯在1519年入侵墨西哥时，也将五线谱带了过去。
10 years after Cortes decimates the Indians in 1519, by 1530, you have Aztec musicians singing Spanish polyphony in Mexico Cathedral.
1519年，科尔特斯屠杀了印第安人，10年后，即1530年，阿兹特克的音乐家们就在墨西哥大教堂里唱着西班牙复调。
So music notation becomes the sharp end of the stick of globalization.
于是，音乐的五线谱记法成为了全球化大棒的尖端。
Now, there are various consequences to staff notation, many of them are frankly bad.
五线谱法产生了各种各样的后果，坦白地说，其中很多都很糟糕。
By pinning notes down to a page, it's almost like capturing a butterfly.
把音符固定在纸上，就像把蝴蝶困住一样。
You're taking a note away from the voice, making it very precise.
你把音符从声音中剥离了出来，让它变得非常精准。
If you look at the way most people speak or sing, the pitch slides.
听一听多数人说话或唱歌的时候，他们的音高是滑动的。
It fluctuates. It doesn't stay still. Notation freezes a note.
会起伏波动，而不是静止不变的。五线谱会把音符固定住。
It becomes rather cold and mechanical.
变得冷漠又机械。
It also freezes music as an object, which is actually quite counterintuitive.
它还把音乐固化成了一种物件，这是反直觉的。
Music isn't an object. It's an activity.
音乐不是物件，而是活动。
It's a thing you do, like dancing or jogging.
它是你做的一件事，就像跳舞或慢跑一样。
But once you turn it into an object, you create a division between the composer of the object and those who merely mechanically reproduce it.
但是，一旦你把它变成一个物体，就在这个物体的创作者和那些只是机械地复制它的人之间划了一道分界线。
We're regaining the participatory condition of music, which was the norm thousands of years ago, where we all had an equal stake in creating and enjoying music.
我们正在重新获得参与音乐的条件，而在几千年前，这可是常态，我们在创造和享受音乐方面都有平等的利益。
Greater integration with technology has served to accelerate a cultural change and we see that in the extraordinary role of the internet.
人类与技术的进一步融合加速了文化变革，从互联网的卓越作用中可以看到这一点。
We can both create music in our homes and share it.
我们都可以在家里创作音乐并分享。
The original bone flute was a piece of technology.
最初的骨笛是一项技术。
It serves to extend human capacity.
它有助于扩大人类的能力。
It extends the voice, which extends our imagination.
它延伸了声音，延伸了我们的想象力。
I think it's fair to say that just as what Stockhausen or Beyonce is achieving today would've been completely out of the comprehension of a Mozart or a Beethoven a few centuries ago.
我认为可以公平地说，像施托克豪森或Beyonce今天所取得的成就，在几个世纪前的莫扎特或贝多芬是完全无法理解的。
We can't even begin to imagine the possibilities awaiting us in the future.
我们甚至无法想象未来存在的可能性。
