評論
打印
A problem with this view, though, is that the closer psychologists look at the careers of the gifted,
然而，這種觀點存在的問題是，心理學家越是深入考察天才們的人生經歷，
the smaller the role innate talent seems to play and that the bigger the role preparation seems to play.
越是發現天賦的作用越來越小，而后天儲備的作用卻越來越明顯。
Exhibit A in this argument is a study done in the early 1990s by the psychologist K. Anders. Ericsson
首先對天才展開爭論的案例，是在20世紀90年代，心理 學家K.安德斯.埃里克森
and two colleagues at Berlin's elite Academy of Music.
和他的兩個同事在柏林的頂級音樂學院做的一個試驗。
With the help of the Academy's professors, they divided the school's violinists into three groups.
在學院一些教授的幫助下，他們把學院學習小提琴演奏的學生分成三個組。
In the first group were the stars, the students with the potential to become world-class soloists.
第一組是學生中的明星人物，具有成為世界級小提琴演奏家的潛力；
In the second were those judged to be merely "good".
第二組的學生只被大家認為“比較優秀”，
In the third were students who were unlikely to ever play professionally
第三組學生的小提琴演奏水平被認為永遠不可能達到專業水準，
and who intended to be music teachers in the public school system.
他們將來的目標只是成為一名公立學校的音樂教師。
All of the violinists with were then asked the same question:
然后，所有學習小提琴的學生都被問及一個問題：
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，你練習過多少個小時？
Everyone from all three groups started playing at roughly the same time, around the age of five.
所有的人，三個組所有的學生，都開始回放已經過往的時間，差不多都是從5歲的時候開始。
In those first few years, everyone practiced roughly the same amount, about two or three hours a week.
在開始學習小提琴的幾年里，每個人練習的時間幾乎都是一樣——每周大約2~3個小時。
But around the age of eight, real differences started to emerge.
但是到8歲左右，差別開始顯現出來。
The students who would end up as the best in their class began to practice more than everyone else,
一個班級最為出色的學生練習的時間開始多于其他學生：
six hours a week by age nine, eight hours a week by age twelve,
9歲的時候每周6小時，12歲的時候每周8小時，
sixteen hours a week by age fourteen, and up and up, until by the age of twenty,
14歲的時候每周16小時，這樣一步一步增加練習時間，一直到20歲的時候，他們還在不斷練習
there were practicing, that is, purposefully and single-mindedly playing their instruments with the intend to get better,
他們的練習帶有明確的目的和個人的思想，從而表演得更為出色
well over thirty hours a week.
這樣的練習每周超過30個小時。
In fact, by the age of twenty, the elite performers had totaled ten thousand hours of practice over the course of their lives.
實際上，到20歲的時候，這些卓越的演奏者已經在他的生命中練習了 10,000個小時。
By contrast, the merely good students had totaled eight thousand hours,
與這些卓越者相比，那些比較優秀的學生練習的時間是8,000個小時，
and the future music teachers had totaled just over four thousan hours.
而那些未來的音樂教師，他們的練習時間只有4,000個小時。
