The Relationship Between Talent, Psychology and the Artist's Hands

enjoyment. In this respect, European classical music has achieved a common denominator of aesthetic and academic criteria for the majority of citizens in society. Empathy and harmony in feeling and enjoying art, including music, seem to have also reached the absolute ideal level.

- The great influence of the French Revolution (1789-1799) and the emergence of progressive social doctrines of contemporary thinkers such as Montesquieu (1689-1755), Voltaire (1694-1778), Diderot (1713-1784),... helped European classical music, the core of which was the Viennese classical school from the second half of the 18th century, create a major turning point for classicism in the music of Europe and humanity. Here, it seems that the perfection of compositional techniques and musical genres (symphony, sonata...) is also synonymous with the aesthetic thinking of the era, which is the ideology of freedom, humanity, the ideal of fighting and winning for the human aspiration for freedom for a better, more noble world. It was this aesthetic ideal, guided by the aesthetic thinking of that time, that Western classical music found a common style of expression: heroic qualities, optimism, fighting spirit, the anxiety and anger of contemporary human conscience looking towards the future for all humanity. It was this human quality that became the common denominator of the aesthetic thinking and creative style of European classical music.

- The unique intonation of each nation has created diversity in a standard system, creating an attractive musicality for European music, not only in classical music but also continuing to contribute to making the musical picture in Europe diverse and rich. This is the main basis for all schools and trends of professional and academic music creation around the world.

Thus, in the Western classical music tradition, the harmonic series is considered the basis for locating the pitch of each tone in the series and the pitch relationship between the tones when they are played.

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compared with absolute pitch (diapason). Also according to the European classical music tradition, with the definition and analysis of I.lesman, the tone must also be understood in its most "dynamic" meaning - moving, active - lively and complete. That means, besides the classical academic criteria that the European academic music has set on the basis of the aesthetic tradition of a large community for each specific work, each author, specific style as well as from an aesthetic tradition of specific communities, to each nation or each country,... it must also originate from those very specific characteristics. In which, each creative subject must continue to find ways to adjust in technique and performing art, in the subtle perception and vibration of the soul so that the work's power of communication to himself as well as the majority of the audience achieves the most optimal effect.

1.2.3. The relationship between talent and hearing

First of all, it must be affirmed that talent is one of the prerequisites for being able to work in the arts, especially music. Accordingly, musical talent is a complex behavioral trait because musical talent or musical aptitude is known to be the main factor determining the ability to perceive, compose and perform music. In addition, we cannot deny that environmental factors, such as the childhood musical environment, established by parents, siblings, and musical education background, affect the ability to perceive and create music. Manifestations of people with musical "talent" are often seen as loving music, being sensitive to music, being sensitive to rhythm and tempo.

Musical talent and the ability to perceive music determine how we listen with our ears and feel sounds. You can easily see that children memorize music very quickly, even adult songs. Children also know how to "evaluate" whether a song is good or bad. Children know the climaxes and choruses to sing along. Just by hearing a part of music that they like, they can sing the whole song. Children pay attention to and memorize commercials, cartoon music, etc. on radio and TV.

It can be seen that people with musical talent can perceive music very naturally. They can easily imitate the melody and sing along very correctly and when learning music, they can recognize and remember the notes quickly.

The connection between talent and hearing is also seen in the fact that: Even though they are illiterate, when listening to a melody, children can sing the whole song without making any mistakes, which proves the ability to reproduce the melody using hearing.

We mention this issue because sound is received through the reception and perception of the ears and transmitted through the auditory nerves to the brain, allowing people to perceive sound. The perception of musical sound, at the same time the ability to perceive the beauty of music in the fullest way can be considered an index of a person's initial talent. Along with that, the person who has the ability to recreate, create or perform music in the most unique, subtle and best way can be understood as a person with musical talent.

With the above problem-posing, a person who has ears that can perceive the accuracy of standard sounds - pitch, rhythm - tempo and is able to adjust it in the process of reproducing and recreating a musical work with his own skills and musical perception, is considered to be a gifted person to study and perform musical art. Thus, to study and become a professional violinist, the above factors are really necessary factors. In reality, teaching violin, teaching techniques to students is often easier than teaching and requiring students to know how to hear themselves play.

? If we can make people learn, understand and know this, we

has achieved the most difficult things a lecturer can do.

1.2.4. The relationship between talent, psychology and the artist's hands

For a violinist, the hands are the means of performing skills to express artistic talent or artistic ability when recreating a musical work. With a pre-existing idea of the artist (this is often seen in people with high musical talent index), by transmitting information from the brain to the hands, the artist uses the hands to

The hand is the instrument for the precise realization of desires through the act of pressing and pulling. Indeed, to perform its role, the artist's hand must have the necessary and sufficient skills, and the only way to practice these skills is through the countless systematic exercises that many authors have written over the centuries.

The connection between talent and the hands of the player can be seen through the objective fact that talented people can accumulate the necessary skills of fingering, hand pulling, etc. through the fastest, smartest, and most methodical training methods and vice versa.

On the other hand, violin learners need a solid technical foundation before they can tackle musical problems. This foundation is not only technical, but also requires learners to have a certain social knowledge. It would be wrong to ask a young and ignorant violinist to perform Bach's music, etc. Along with that, we need to consider further the relationship between the artist's talent, psychology and hands. To press and pull "correctly" and "standardly", the artist must first visualize the music or understand it in the way: the music must first sound in the "head" and then the hands will coordinate to perform by the skills that are formed conditionally. This is the clearest expression of the interaction between talent, performance psychology and hand skills.

1.2.5. Determining the standard sound in Violin training

Over the past 60 years, the art of professional violin in Vietnam has been built and developed in all three areas: Training, performance, and composition. However, the reality is that many students who play violin or some of our violin artists participating in international competitions have difficulty in correcting errors in standard pitch (not standard pitch).

For professional violinists, right from the first lessons on this instrument, the problem of standard pitch is the first necessary condition to express a musical work. The violin is a musical instrument without fixed keys like many other musical instruments, so it does not help learners to easily

easily determine the pitch of the sound, find the standard sound. Determining the standard sound of each sound emitted on the violin through "standardization" by the artist's own "ears". This is not only a difficulty but also a process that requires meticulous, lifelong training for any violinist. It is the difference in the ability to create very large tolerance amplitudes in a pitch with an accuracy of 1/4 tone, even 1/8 tone or more, that has created the ability to convey subtle emotions that no other instrument has. But that ability also puts on the shoulders of the violinist many difficulties in the process of learning and practicing standard sound.

In fact, right from the first basic exercises on the violin, the hand position, the fingerings and the bow movements are always “dynamic” due to the two-sided nature of the violin. Just considering the Gregorian scale system, we can see the complexity with sharp notes (#), flat notes (b),… with extremely difficult and continuous movements of changing positions and strings. In the short pieces and works, the level of difficulty is even more clearly shown because the left hand is always changing from the pressing fingers, pressing position plus the vibrating technique at the same time the right hand must always change to control the up and down direction of the bow along with the techniques of pulling the sound continuously, stopping the sound, chords and loud, soft, changing strings,... Therefore, developing the highest perception of the most subtle movements along with recognition in a series of exercises at each reasonable level will help learners have concepts about how to control the violin and how to solve them to have the most basic foundation for the artist.

As presented, the scale - mode is considered the backbone, the basic framework that creates a musical work. Thus, the scale - mode, understood in the way of expressing a musical work, whether short or long, regardless of the structure of the work from the simplest such as a musical phrase - musical section to classical forms,... then in the field of pitch, each sound is emitted according to the rules

The symbols on the score are the standard sound, or more precisely, the first requirements and criteria for standard sound.

With its own advantages, the violin is capable of expressing all three of the following requirements for standard sound:

+ Fixed standard: are the averaged pitches on keyboards: Piano, Accordion, Organ...

+ Standard variation according to harmonic sound:

This is a very subtle transformation, creating extremely rich characteristics for both the sound and timbre that each musical work poses. These characteristics are expressed by each school or style of music and are considered as its own identity. This is the seemingly absolute advantage that the violin has thanks to its ability to create large tolerances in each of the above mentioned tones. It is this ability that has a strong impact on the audience's hearing that we often see in the performance style of Jaques Thibaud, Yehudi Menuhin as well as in the works of Debussy, Ravel, Bartok and later modern music. For example: C # is different from Re b .

+ Mobile standards:

This is a common feature when performing musical works that have the sound or exploit the traditional folk and ethnic musical scales and modes. Depending on the specific tones, the "breath" and "soul" of the music are set and the pitch processing thanks to the delicate fingering on the violin reaches a necessary height, creating a characteristic sound in which the precision of the sound is blended into the "breath" of the music.

As mentioned, all the means of musical expression such as scales, modes, harmonies, rhythms, and even the specific technical techniques used by each author are ultimately just the framework, just the skeleton for the most general and comprehensive orientation. The remaining “skin”, “flesh”, and “soul” of the work is the job of the performing artist, who is the bridge between the author - the work and the audience.

Although the Western musical notation system has reached a high level of precision and scientificity, it is still only somewhat conventional. Here, there is not only a rational sympathy between the performing artist and the author of the work, but also osmosis and mutual tolerance between aesthetic subjects.

One can still see that behind the calculations that reach the absolute precision and standards of reason and science in the compositional techniques of the Western classical music tradition such as: harmony, arrangement, exploitation and development of the features and timbre, range of musical instruments,... there is still somewhere present the hazy mist that creates each style, creates each identity of a specific region, of a specific nation, of a specific country and that is intonation, in which the integrity of the sound line is the resonance of many musical elements: pitch, rhythm, musical style, musical material, aesthetic thinking throughout the work.

1.3. Characteristics and development process of rhythm

1.3.1. Characteristics of rhythm

In musical activities, rhythm and tempo are also considered from the perspective of regular, organized movements and closely correlated with each other in time, in order to create a rhythmic movement of music. Therefore, understanding rhythm is very necessary and important for artists, the public and all those who work in this art field. Rhythm and tempo in music originate from labor and other human survival activities and carry within them characteristic aspects such as: time, cyclicality, social - cultural nature of a nation or a large geographical area, ...

1.3.1.1. Time calculation

We know that, whether it is simply a single musical note, a musical phrase or a complete musical work, it is made up of essential elements that determine the quality of music, which are:

pitch, rhythm and sound quality. In musical activities, rhythm and tempo are related to everything related to time and movement. In particular, time and movement here are expressed in the organization of structure by certain time periods, reflected by the flexible and regular movement of rhythm, of the beat by the speed of time, by the strictness of mechanical physics or the freedom to spread widely to depict the ideas that the musician wants to express. Through the movement of the process of music history, music researchers have created conventions, even if only relative, to determine the duration of sound in music and this is also considered a form of rhythmic notation to help record the movements in millions of musical works. This is considered an extremely important step forward in the world's professional music life, which we still call European classical music.

One whole note = Two white notes One white note = Two black notes

One quarter note = Two eighth notes One eighth note = Two eighth notes One eighth note = Two eighth notes

It can be said that, looking at this rhythmic character, the timing of rhythm and tempo has been fully expressed. However, even if these conventions are understood in the most mechanical and mechanical way, the miracle of music is that it will be impossible or very difficult to find completely identical music, even though there have been thousands of musical works written in the age of information technology and modern science today.

Regarding the timing of rhythm and tempo, we often encounter some basic rules as follows:

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