For an excellent violinist, in addition to mastering beautiful and pure pronunciation and skilled skills, he must also have a high degree of sensitivity and deliberate pursuit of musical art, as well as a unique style and innovative spirit, that is, to have a good sense of music.
A multi-talented Russian violinist with a wide range of artistic interests and a beautiful and delicate timbre and a beautiful sound quality, said: "Genius must have two things, the first is to have a rich imagination, full of emotions to play; the second is to obtain good playing skills through attentive and stable learning." He believes: "Some violinists have good skills but lack meticulous expressiveness; some violinists have a good feeling for music, but lack the means of expression - high skill.".
The great violin educator Garamian also believed that "a good player should combine perfect playing skills with musical performance ability that can make everyone understand and convincing.". From this point of view, both musicality and skill are indispensable, and many violinists often pay insufficient attention to the former.
Some people say that musicality is innate. In fact, the so-called innate conditions, the so-called genius, actually refer to the fact that children are faster than the average child in understanding and receptiving music. And all this is inseparable from objective factors such as family, society, and environmental influences. Of course, there are also many children from famous families, although they have superior conditions beyond the general, but they have not become talents, the reason is that the subjective and objective conditions are not unified, or there is no desire to engage in music at all.
Some children pick up the piano, have the requirement to sing from their hearts, and in any case, are in a state of optimism, confidence, relaxation and a strong desire to perform. Under the guidance and inspiration of the teacher, the music can be quickly and easily mastered, and the display of this talent is very valuable, but it is by no means the full embodiment of the musical sense.
Other children pay too much attention to the external performance of their own performance, under the rhythm of parents' confidence. Swinging his body, shaking his head, playing the Vivaldi A Minor Concerto, although it is still a little difficult to be a child in terms of ability, people may still be applauded by the innocence and cuteness of his young age. But at the age of seven or eight, people will feel that these aimless shaking is completely superfluous, and by the time you are a teenager, you will feel how annoying this kind of self-enjoying shaking is. This is because what people need and pursue is ultimately a beautiful and beautiful music, not a "physical performance" that is contrived. All the movements that bring people visually in the performance can only really help to infect the audience when they are completely and properly integrated with the performance of the music.
The quality of the musical sense is reflected in the understanding of the work, the mastery of the style, and at the same time in the treatment of the music, all of which will be expressed to the audience through singing performance. A child who is just learning to play the piano can hardly understand the difference between the styles of works between Bach, Mozart and Beethoven, and of course, it is impossible to understand the difference between classical works and modern works in musical processing and playing methods.
No matter what kind of talent you have, there is a problem that "needs to be studied and felt hard". As a guidance teacher, in addition to teaching playing skills, it is more important to teach music, including the content of the work, the style of the times, the structure of the song, the playing method, etc., so that students really know how to sing with their hearts.
It is a complete mistake to dismiss some students whose musical personality and imagination are late and slow to show their hopelessness and abandonment of teacher responsibilities. But if the students are taught in an imitative way, the result will inevitably be that the students' playing will be mediocre and impersonal, and they will never find that subtle timbre change.
Therefore, for students, they should be required to listen more: from different performers' styles and treatments, to find the best musical performance; think more: from the works to study, analyze the different bows, the scientific nature of the fingering; practice more: from a variety of exercises to seriously think about and seek the best performance means that can express the requirements of the work. It is necessary to take every note seriously, including those strong, weak, fast, slow, and all the emoticon marks marked on the composer's score, and use the greatest effort to reflect the musical content that the author himself wants to express.
Every player, as long as they have a serious attitude, with the growth of age, the improvement of culture, the broadening of vision, the broadening of knowledge, and the deepening of understanding, the musical sense will be rich, and this is the sublimation of a player's musical soul.