In Harlem, New York,some locals place a sound system by an open window . They plug it into the electrical socket, and all of a sudden,there’s dancing in the streets. In downtown Tokyo, young couples eat popcorn and dance to the music of a rockabilly band, which plays American music from the Fifties. In the London Underground a student plays classical guitar music, which echoes along the tunnels, It lifts the spirits of the passengers, who hurry past on their way to work. In a street in Vienna or Prague or Milan a group of pipe musicians from the far Andes fill the air with the sounds of South America.
The street musician is keeping alive a culture which has almost disappeared in our busy, organised,and regulated lives: the sound of music when you least expect it . In a recording studio,even when relayed by microphone, music loses some of its liveliness. But street music gives life to everyone who listens and offers relief from the cares of the day. It only exists in the present , it only has meaning in the context . It needs space.

在纽约的Harlem（曼哈顿的一个区），一些当地人在敞开的窗户边放一个放声系统，然后插在一个电插槽里，转眼间，街上就有人翩翩起舞。 在东京，年轻人吃着爆米花，跟着摇滚乐队的音乐跳舞，乐队演奏的都是五十年代的美国音乐。 在伦敦地铁站，一个学生演奏者古典吉他曲，乐曲回荡在隧道中，让匆匆赶路上班的乘客们情绪激扬。来自遥远的Andes的管弦音乐家让南美的曲调在维也纳、 Prague （应该也是个城市）和米兰的大街的空气里飘扬。
有一种文化已经在我们繁忙、有序、的生活中渐隐，那就是音乐之声，而街头演奏家仍使它保持活力。在录音棚里，由话筒传递的音乐失去了活力。而街头音乐将生命力力给了每个聆听者，让他们从日常繁务中解脱。它只存在于当下，只在意境中才拥有意义。它需要空间。