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If you were born in Beethoven's time, you'd be lucky if you heard a symphony twice in your lifetime, whereas today, it's as accessible as running water.
如果你出生在贝多芬的时代，你能在一生中听两次交响乐就很幸运了，而如今，它却像自来水一样唾手可得。
We're drowning in music.
我们被淹没的音乐中。
We in the West have tended to have a misconception that history of music is a history of works or composers.
在西方有这样一种误解，我们倾向于认为音乐的发展史就是作品或作曲家的发展史。
This tends to reduce music into an object, into an exhibit in an imaginary museum.
这种想法会把音乐精简成一件物品，一种虚拟博物馆里的展品。
It also overvalues the role of the composer compared to most people who are innately musical.
与大多数天生具有音乐天赋的人相比，它也高估了作曲家的作用。
And I wanted to get away from the usual thing of 'Which composer wrote what piece at what time,' to see the bigger picture.
我想要摈弃常说的“哪位作曲家在哪个时间写出了什么样的作品”这种观念，站在更宏观的角度。
We're in the kind of moment of the global, of the universal— and music is absolutely universal.
我们正处在一个全球性的、全世界的时代——而音乐绝对是全球性的。
I'm Michael Spitzer. I'm Professor of Music at the University of Liverpool in the United Kingdom.
我是迈克尔·斯皮策。是英国利物浦大学的音乐教授。
I've written a book called "The Musical Human: A History of Life on Earth."
我写了一本书叫《有音乐天赋的人类：地球上的生命史》。
It's almost inconceivable to write a prehistory of music because Edison invents the phonograph in 1877 and prior to that, we have no record of any sound.
写一部音乐史前史几乎难以置信，因为爱迪生在1877年才发明了留声机，在那之前，我们没有任何声音的记录。
In terms of the evolution of instruments, the very oldest instrument we have is the human voice.
就乐器的进化而言，我们拥有的最古老的乐器是人类的声音。
We also have lithic instruments made of rocks, such as stalactites or the famous 'rock gongs' in Tanzania.
我们还有用岩石制成的石器，如钟乳石或坦桑尼亚著名的“岩石锣”。
But the landmark is a discovery of bone flutes, flutes made out of the bones of vultures, and they're dated about 40,000 years.
但具有里程碑意义的是骨头长笛的发现，用秃鹫的骨头制成的长笛，它们大约出现在4万年前。
And they were found in the South German caves.
它们是在德国南部的洞穴中被发现的。
One of the problems with instruments is that the materials biodegrade.
乐器的一个问题是，它的材料会被生物降解。
So we have to work inferentially by mapping from what we do know.
所以我们得根据已知的信息进行推理。
If you're looking at the broad picture of the evolution of sapiens, then the epochs are hunter-gatherer, farming community, and then the founding of cities and city-states.
如果纵观智人的进化史，你会发现它们依次是狩猎采集时代，农耕时代，然后是城市和城邦的建立时代。
Each of these epochs is associated with mentalities.
每一个时代都与智力有关。
So, hunter-gatherers tended to be nomadic.
狩猎采集时代的人们往往是游牧者。
And if you're essentially journeying through a landscape, what you don't do is carry heavy instruments.
如果你总在旅行，就不会带着沉重的乐器。
Music has to be portable, ideally, just a voice or if not, a very light flute or a small percussive instrument.
音乐必须便于携带，理想情况下，它只有一个声音，如果不行，那就得是一个很轻的长笛或小型打击乐器。
And if you look at the music that is played by the Cameroon Pygmies, every time they play a piece, it sounds different.
如果你看一下喀麦隆俾格米人演奏的音乐，每次他们演奏同一段的时候，听起来都不一样。
It's very much music of the moment.
那都是当下那一刻的音乐。
Now, what changes when you invent farming?
那么，农耕时代到来的时候，什么变了呢？
You settle down.
人们定居下来了。
And your whole mindset becomes fixed on the circle of the seasons, the circle of life.
人们的思想开始聚焦于四季交替、生命循环上了。
And you invent repeatable work.
重复性的工作开始出现。
And the structure of the work becomes as cyclical as life itself.
工作本身的结构就像生命周期一样循环往复。
You invent a circle in music, invent musical rituals.
于是人们就发明了音乐上的循环，发明了音乐仪式。
And once music migrates from the farm to the town, certain changes happen.
一旦音乐从农场迁移到了小镇里，就会发生一些变化。
Instruments can become heavy because you start to set quite permanent roots into the town.
乐器也变重了，因为人们在小镇里扎下了根。
You create heavy instruments like bells and gongs, but also very delicate ones like harps and lutes which would be damaged over a journey.
人们会造出钟或者锣之类的重型乐器，当然也有一些比较脆弱的乐器，比如竖琴或琵琶，这些在旅居过程中可能会被弄坏。
And music's function now also changes with the growth of social hierarchy.
音乐的功能也随着社会等级的增长而变化。
The job of music is to be a handmaiden to serve the power, the power of the prince or the church.
音乐的任务就是充当女仆的角色，为权力服务，为王子或教会的权力服务。
