Research on the Individualization of Chinese Violin Art from the Perspective of Cultural Consciousness

Zhang Jing, Shanxi Vocational College of Art

China's violin art has developed over the past hundred years and has achieved quite outstanding results in the national field, however, affected by the phenomenon of global convergence of culture, China's violin art still has problems such as personality cultivation and style precipitation. Based on the perspective of cultural consciousness, the article reviews the development process of Chinese violin art, analyzes the national identity and artistic characteristics of violin art, sorts out the construction of China's violin field and the wave of ideological development, and expounds on the problems faced by China's violin art after undergoing localization development, aiming to further enhance the aesthetic value of violin art and promote the high-quality development of Chinese violin art. This is also of great significance and role in building a national cultural and artistic brand.

The concept of cultural self-consciousness was first put forward by Mr. Fei Xiaotong, a well-known sociologist in China; among the various theories on cultural self-consciousness put forward by Mr. Fei Xiaotong, it includes the self-awakening, self-reflection, and self-creation of culture, and culture has "self-knowledge." Cultural self-consciousness means that people living in a certain culture have "self-knowledge" of their culture, understand its origin, formation process, characteristics and development trend, and do not carry any meaning of "cultural return". This process is a process of rational consideration, but also a process of reflection and elevation of the national spirit [1]. Culture consciously and effectively solves the relationship between national culture and world culture that exists in the relationship between "harmony and difference", and violin art, as a branch of many artistic fields in China, also plays an important role in promoting the development and integration of China's culture.

Analysis of the conscious positioning of the violin art in China

With the continuous development and progress of science and technology in recent years, mankind has begun to enter the era of informationization, and informationization has had an impact on the cultural self-system originally built up by regions and ethnic groups, further promoting the globalization of culture, and the history of mankind is always in the process of constant changes and integration, and in the process of continuous progress, following a certain specific law has been moving forward. However, there is no era in history that can be like this today, because the changes brought about by technology affect the process of cultural and artistic integration, and this irreversible trend has further broken the original development trajectory and law, and to a large extent has promoted the further development of culture and art.

However, there are also some convergence problems in the cultural development of the current era, and under such circumstances, the national attributes of art have suffered a certain erosion, which is similar to the wave of ideas such as "western use of Chinese bodies" and "total Westernization" that emerged in the early stage of the last century. The development of culture must have the form and characteristics of the cultural self.

In the process of cultural development, it must be deeply integrated with national characteristics, and only with distinct national characteristics can we form the highlights of the development of Chinese culture, thus pointing out the road and direction for the faster development of national culture [2].

Under the background of the current era, people do not need to argue about the Western culture and Chinese culture in culture and art, but they must recognize and understand the logical relationship between convergence and nationality under the new social environment, so as to ensure that under the wave of global cultural convergence, music and art culture can have a relatively strong sense of national identity and personalized inheritance.

In a certain sense, violin art belongs to an imported product in China, and after entering China, violin artists have made relatively outstanding achievements in the process of integrating with the nation, creating and cultivating a number of national violin players with high-quality standards, and also creating many works with national cultural influence. However, from the perspective of cultural consciousness, it is not difficult to find that there are still some problems in the development of violin art in China in terms of the cultivation of national individualization, which is still in the initial stage of development and does not have stability and maturity, just like newborn seedlings, it is also necessary to cultivate and have certain abilities and distinct personalities in order to be able to base itself on the world.

Under the environment of global convergence of culture and art, the relationship between the national attributes of violin music and the world's diversified music must be re-examined, effectively establish the consciousness and self-confidence of China's violin culture, fundamentally enhance the national cultural identity of violin music, and build a cultural system of Chinese violin art's self-awareness, self-positioning, self-criticism and self-creation on the basis of national music traditions, which is also the chinese art under the background of the development of the current era The technical industry needs to focus on the problems.

Analysis of the value and significance of the individualized cultivation of Chinese violin art

The inevitability of the development of violin art

All along, the most expressed expression of artistic practice presented by the unconscious development of the violin is the cultural mentality in an awkward position, which is mainly reflected in theoretical research, creation and performance of works. The development of Chinese violin art has always been to imitate and learn western violins.[3] However, due to differences in cultural aesthetics, violin art has shown a situation of heavy skill and light connotation, and some violinists who have won international awards are pure in terms of skills, but the interpretation of the connotation of the work is still insufficient. In addition, because violin players have always accepted the Western training system and model and have not thought more deeply about their own culture, when performers play their own national music works, they not only feel that Western standards cannot be fully applied to their own national works, but even find it difficult to interpret the connotation of good works, and lack some Oriental characteristics.

Therefore, on the whole, the development of Chinese violin art is easy to fall into the loophole of the fusion of Chinese and Western violin art, which has become an important reason restricting the further development of Chinese violin art, and fundamentally speaking, this is also because the Field of Chinese Violin Art has not yet understood who is the subject and for whom it is used, and the problem of national identity recognition of violin art has not been reasonably solved, and it is impossible to further innovate and develop without obtaining identity.

If chinese violin art still does not have a Chinese-style performance style, then it will make the excellent and profound cultural heritage of the nation be ignored, and the connotation of the work cannot be fully displayed when playing. In order to effectively solve this problem, it is necessary to build up the consciousness of the chinese violin as the main body, to build the Chinese violin school, to have clear standards and norms, and to clarify the system, theory, performance, and education of the development of the violin.

Individualization fosters cultural diffusion

Under the development of science and technology, cultural globalization has also further deepened the degree of integration of culture and art in the world, and "bringing in" and "going out" are the two main forms of integration. The artistic collision and fusion brought about by different musical values will build a more diversified pattern of musical cultural values, and pluralism also represents the differences in culture, and the most important driving force is the self-consciousness and self-confidence of national music culture. Only when culture has differences can it make national culture have more distinctive characteristics and bright spots, and this is also the most crucial part of cultural dissemination.

At present, although the violin has made certain achievements on the road of nationalization and development, there is no scientific and effective value guidance and mechanism guarantee. At this stage, there are fewer violin works of high quality and value convergence and stable style, not to mention artistic works that can arouse profound repercussions in the field of art, whether in the embodiment of national connotations or in terms of playing techniques. The violin is not a native instrument, but was imported from the West, and its development in China started relatively late, and most of the early stages were borrowed from the Western evaluation system.

However, after more than a hundred years of development, the Chinese violin has not fully integrated into the cultural characteristics of its own nation, and has not built a more scientific and mature teaching system and evaluation system. In the long-term development process, the relevant evaluation criteria of the West have always been taken as the criteria for judging works of art, and there is no system of judging standards for building our own judgment standards based on the perspective of national development, which is extremely unfavorable to the nationalization of violin art and the cultivation of personalized styles. Only after a longer period of artistic precipitation and the establishment of a scientific violin music system can we further promote development.

Building China's unique brand culture and promoting the development and dissemination of brand culture is deeply consistent with China's developing "Belt and Road" national strategy, and has a similar principle to the transformation of "Made in China" to "Made in China" in the economic field. Violin art is a branch in the field of China's cultural development and has the task of establishing a national brand of the times. In order to effectively establish a national brand of violin, it is necessary to effectively enhance the consciousness and self-confidence in the development of musical culture and fully enhance the soft power of culture. In this way, we can promote the violin art to go out more quickly.

Analysis of the transformation and development of Chinese violin art from the perspective of cultural consciousness

Transform and seek a path of development

If Chinese cultural values are integrated into the violin art, it is bound to trigger a certain degree of cultural stress response. In a sense, when multiple cultures are integrated and collided, cultural consciousness has already begun to form. Today, the outstanding achievements made in the nationalization of Chinese violin art are the inevitable result of today's cultural consciousness. However, there are also certain problems in this. Although cultural consciousness has always existed, it has not yet reached a certain level and cannot fully promote the transformation of the subject.

On the whole, if nationalization is compared to the promotion of the exclusion and integration of traditional music culture for violin art culture, then the focus of the development problems related to the "post-nationalization" faced by China's violin art culture lies in the transformation and positioning of the main body, and in the field of culture and art, the formation of the Chinese violin school is one of the most critical goals.

The construction of a violin school with Chinese characteristics has long been not a hot topic, and generations of musicologists in the field have already begun to study, and the establishment of the Chinese violin school is more urgent under the background of cultural consciousness and cultural exchanges [4]. In the process of development, different arts will form a culture that is integrated with the characteristics of the development of the state and nationalization, and this culture not only establishes the unique characteristics of art, but also enables the wide dissemination of national culture.

Ideas on the construction of the Chinese violin school

In order to fundamentally realize the purpose of cultural individualization and effectively promote the construction of the Chinese violin school, it is necessary to carry out in-depth development based on cultural achievements and academic precipitation. In the context of the present era, many scholars in the field of culture have different views on the question of whether the establishment of a school should have very mature conditions and environment.

However, after more than a hundred years of practice and accumulation, although there are some problems in system construction, creative innovation, and education and teaching, Chinese violin art still has the conditions for the creation of schools. The development and achievements of Chinese national culture are obvious to all, and they have laid a solid cultural foundation for the construction of the school, while the most crucial issue in the construction of the violin school is to enhance cultural consciousness. Judging from the current development situation, the composition and development of the violin school in Our country must have sufficient social conditions, so that theory and practice can be more deeply integrated.

Theoretical foundations. It is necessary to conduct in-depth research and analysis of materials related to violin art, literature, playing skills, and teaching theories, and build a scientific evaluation system [5].

The work carrier is established. We should systematically sort out the original works and documents of Chinese violin music with diversified national characteristics currently owned by our country, do a good job in the study of style precipitation and the unified summary of the value of the works, establish relevant standards and norms, and carry out the project of creating fine works of national art.

Talent carrier construction. On the basis of the current talent base, it is necessary to train a new generation of violin players, cultivate a group of talents who are keen on disseminating national characteristics and have a high level of skill, and build an elite talent pool for the development of China's violin art.

Educational carrier construction. It is necessary to sum up the artistic laws and the laws of playing techniques currently possessed by China's violin art. On the basis of practice, we have perfected China's teaching system in the teaching of violin art, and created a teaching method with distinctive characteristics and a model teaching material [6].

Institutional foundation building. In light of the actual situation of the development and construction of the Chinese violin art school, a research center has been set up to provide conscious guidance for the violin in various aspects such as theory, performance, and education, and to institutionally guarantee the style precipitation of the violin, as well as the cultivation of the system and the dissemination of consciousness.

Chinese violin art still has a long way to go, and it cannot be accomplished overnight in terms of individualization and school building; the arduous task and the long-term road are unpredictable in the current social development environment, and there are still many construction work that needs to be perfected and improved in the future.

Therefore, it is necessary to innovate and change the concept of consciousness and enhance cultural self-confidence. Seize the opportunity of the rapid integration and development of world culture and art, conduct in-depth research on Chinese violin art, strengthen the guidance based on core values and concepts, and formulate a series of scientific and reasonable development plans based on the actual situation. In addition, it is necessary to ensure that the construction of the Chinese violin art school has sufficient human, material and financial support to build a guaranteed incubation base.

From the perspective of the law of artistic development, we cannot always rely on the development results and development techniques of Western violin art, and we must establish violin art with national characteristics. In order to promote the long-term development of Chinese violin art to the greatest extent, it is necessary to take root in the rich traditional culture, fully excavate and extract the essence of traditional culture on the basis of China's splendid civilization of five thousand years, and deeply integrate the national culture and art of the violin, so that the violin art has very distinct national cultural characteristics. Only by injecting the genes of national culture can we fundamentally awaken the identity of violin art and culture in the depths of people's hearts and establish a high degree of cultural consciousness and cultural self-confidence.

Not only that, but it is also necessary to establish unified and standardized artistic standards and aesthetic rules, so that violin culture can have more scientific and reasonable evaluation standards. It can be seen from this that the excellent national cultural characteristics and the oriental civilization with a long history are the source and driving force for the individualized cultivation of Chinese violin art and the establishment and development of schools.

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