Student: Oh! So his old style of jazz was actually a kind of product, one that had been developed pretty thoroughly.
And he'd taken it about as far as he could.
So he decided to take a big risk and try something totally new.
Professor: Exactly! Something completely fresh and cool.
And people couldn't get enough of it.
It was a brand new beginning that left lots of room for further development artistically.
And as a market analyst, you could say that with Kind of Blue, he was jumping to the beginning of a brand new S-curve! With all that potential for profitable development still ahead of him.
But let me ask you something else.
This isn't just the music of a single performer, is it? George.
Student: Hardly. More like a group of all-stars.
Along with Miles Davis on trumpet, there is Bill Evans on piano, John Coltrane on tenor saxophone...
Professor: Individually perhaps the best in the business.
But thinking of Miles Davis as the leader of this group, how did he organize and manage all these incredible talent?
Student: Well, he'd lay out the general outline, the theme and then give each of these star performers, one by one, the creative freedom to really show what they could do with it on their own instrument, to improvise and add something new, but always within the same general theme.
Professor: So Miles Davis gets credit for recruiting the best jazz talent anywhere and getting them to collaborate on a fantastic musical product.
Everyone see the business parallels here?
And give each of these musicians credit for seizing this opportunity and creating great individual performances.
But good jazz is more than just outstanding individual performance, isn't it?
Student: Definitely. Jazz musicians need to listen to each other and go with the flow.
Like, one time somebody goofed and came in a little early, but everyone else adjusted and went right along with it, as if nothing were wrong.
And this mistake came out like just another unexpected creative interpretation.
Professor: Thanks. George.
Great insights, ones that would certainly apply to what we are studying here.
What are the main topics that the class discusses?
What do the speakers indicate can be represented by the S-curve graph?
How did jazz fans react to Miles Davis' album Kind of Blue?
Based on Miles Davis's approach to recording Kind of Blue, what does the professor imply managers should do in running a business?
What lesson can be learned from the example about a mistake during a musical performance?
What is the professor encouraging the student to do when she says this 'Stay with me here.'?
学生：哦!所以迈尔斯旧的爵士风格其实是某种产品，已经开发得很彻底了。
他也将之发展到力所能及的极致了。
所以他决定冒个大风险，尝试些全新的东西。
教授：对!完全新鲜的，酷毙了的事物。
人们怎么听都听不够。
这是一个全新的开始，从艺术角度来说，还有很多进一步发展的空间。
作为市场分析师，你可以说，有了《Kind of Blue》，他跳到了一个全新S曲线的开端，以后还有巨大的利润增长潜力。
让我问些别的问题。
这不仅仅是一位演奏家的音乐，对吧，乔治?
学生：不算是。更像全明星团体。
迈尔斯·戴维斯的小号之外，还有比尔·埃文斯弹钢琴，约翰·柯川吹次中音萨克斯……
教授：就他们个人来说，都是业内最顶尖的。
但把迈尔斯·戴维斯当作这个团队的领导者来看，他是怎么组织和管理这些顶尖人才的?
学生：他设下了总体大纲和主题，然后给每一位明星演奏家(每一个)创作的自由，让他们展示他们能用自己的乐器表演出什么，来即兴创作和增加新元素，但总是要保持同一个总主题。
教授：所以，迈尔斯·戴维斯因招募到了最棒的爵士音乐人才而受到广泛好评，他让他们合作做出了一个极佳的音乐产品。
大家都能看见商业中的相似之处了吗?
这些音乐家也因自己把握住了机会，创造了精彩的个人表演而受到表扬。
但好的爵士乐不仅仅是杰出的个人表演，对吗?
学生：当然。爵士音乐家需要互相聆听，顺势而弹。
比如，有一次某人出错了，(加入演奏时)弹早了一些，但其他人都随之调整，顺着错误来弹奏，仿佛没有出任何差错。
这个错误就变成了另一种出乎意料的创新演绎了。
教授：谢谢，乔治。
你的见解很棒，也能应用到我们所学的领域中来。
课堂讨论的主要话题是什么?
根据说话者，S曲线图表能代表什么?
爵士乐迷对迈尔斯·戴维斯的专辑《Kind of Blue》有什么反应?
基于迈尔斯·戴维斯录制《Kind of Blue》的方法，教授暗示管理者在企业运营中该怎么做?
从那个音乐表演出差错的例子中，我们能学到什么?
当教授说“留心听”的时候，她想鼓励学生能做什么?
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