異類:不一樣的成功啟示錄 第25期:練習(xí)成就天才
然而，這種觀點(diǎn)存在的問(wèn)題是，心理學(xué)家越是深入考察天才們的人生經(jīng)歷，
the smaller the role innate talent seems to play and that the bigger the role preparation seems to play.
越是發(fā)現(xiàn)天賦的作用越來(lái)越小，而后天儲(chǔ)備的作用卻越來(lái)越明顯。
Exhibit A in this argument is a study done in the early 1990s by the psychologist K. Anders. Ericsson
首先對(duì)天才展開爭(zhēng)論的案例，是在20世紀(jì)90年代，心理 學(xué)家K.安德斯.埃里克森
and two colleagues at Berlin's elite Academy of Music.
和他的兩個(gè)同事在柏林的頂級(jí)音樂(lè)學(xué)院做的一個(gè)試驗(yàn)。
With the help of the Academy's professors, they divided the school's violinists into three groups.
在學(xué)院一些教授的幫助下，他們把學(xué)院學(xué)習(xí)小提琴演奏的學(xué)生分成三個(gè)組。
In the first group were the stars, the students with the potential to become world-classsoloists.
第一組是學(xué)生中的明星人物，具有成為世界級(jí)小提琴演奏家的潛力;
In the second were those judged to be merely "good".
第二組的學(xué)生只被大家認(rèn)為“比較優(yōu)秀”，
In the third were students who were unlikely to ever play professionally
第三組學(xué)生的小提琴演奏水平被認(rèn)為永遠(yuǎn)不可能達(dá)到專業(yè)水準(zhǔn)，
and who intended to be music teachers in the public school system.
他們將來(lái)的目標(biāo)只是成為一名公立學(xué)校的音樂(lè)教師。
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All of the violinists with were then asked the same question:
然后，所有學(xué)習(xí)小提琴的學(xué)生都被問(wèn)及一個(gè)問(wèn)題：
over the course of your entire career, ever since you first picked up the violin, how many hours have you practiced?
在你的一生中，從舉起小提琴開始，你練習(xí)過(guò)多少個(gè)小時(shí)?
Everyone from all three groups started playing at roughly the same time, around the age of five.
所有的人，三個(gè)組所有的學(xué)生，都開始回放已經(jīng)過(guò)往的時(shí)間，差不多都是從5歲的時(shí)候開始。
In those first few years, everyone practiced roughly the same amount, about two or three hours a week.
在開始學(xué)習(xí)小提琴的幾年里，每個(gè)人練習(xí)的時(shí)間幾乎都是一樣——每周大約2~3個(gè)小時(shí)。
But around the age of eight, real differences started to emerge.
但是到8歲左右，差別開始顯現(xiàn)出來(lái)。
The students who would end up as the best in their class began to practice more than everyone else,
一個(gè)班級(jí)最為出色的學(xué)生練習(xí)的時(shí)間開始多于其他學(xué)生：
six hours a week by age nine, eight hours a week by age twelve,
9歲的時(shí)候每周6小時(shí)，12歲的時(shí)候每周8小時(shí)，
sixteen hours a week by age fourteen, and up and up, until by the age of twenty,
14歲的時(shí)候每周16小時(shí)，這樣一步一步增加練習(xí)時(shí)間，一直到20歲的時(shí)候，他們還在不斷練習(xí)
there were practicing, that is, purposefully and single-mindedly playing their instruments with the intend to get better,
他們的練習(xí)帶有明確的目的和個(gè)人的思想，從而表演得更為出色
well over thirty hours a week.
這樣的練習(xí)每周超過(guò)30個(gè)小時(shí)。
In fact, by the age of twenty, the elite performers had totaled ten thousand hours of practice over the course of their lives.
實(shí)際上，到20歲的時(shí)候，這些卓越的演奏者已經(jīng)在他的生命中練習(xí)了 10,000個(gè)小時(shí)。
By contrast, the merely good students had totaled eight thousand hours,
與這些卓越者相比，那些比較優(yōu)秀的學(xué)生練習(xí)的時(shí)間是8,000個(gè)小時(shí)，
and the future music teachers had totaled just over four thousan hours.
而那些未來(lái)的音樂(lè)教師，他們的練習(xí)時(shí)間只有4,000個(gè)小時(shí)。
