What matters and what doesn’t when learning the guzheng?

Time is not the key factor
Some fellow musicians mistakenly believe that the longer one spends cooped up in the practice room each day, the better. This is not necessarily true. Not everyone who spends ten hours a day in the practice room will inevitably become a guzheng virtuoso. Music requires a certain depth of understanding; its soul lies in the performer’s rich emotional reserves finding expression. Daily mechanical practice, even when technically correct, merely hones pure technique and contributes little to the essence of ‘music’.

Academic institutions and qualifications are not paramount
Regardless of where one studies, professional lessons occur weekly, with the vast majority of time requiring diligent self-directed exploration. To truly dedicate oneself to this pursuit, one must inhabit it daily, maintaining absolute singularity of focus. Not all conservatoire graduates become performers, nor are all those from ordinary schools merely amateurs. Adopt the right attitude towards music: passion, talent, and diligence matter most. Blindly chasing prestigious institutions is futile. Thus, the crux lies in subjective effort, not objective circumstances; in the individual, not their background.

Outcomes are not paramount
Many pursue music, yet few attain mastery. Provided you’ve diligently studied and practised, there need be no regrets. Do not set goals beyond your reach, nor blindly compare yourself to others, for such behaviour only exhausts you and breeds negative emotions. The primary purpose of studying music is to learn to savour art and thereby enrich life, alongside cultivating independence, self-reliance, and perseverance through practice. Yet regardless of your motivations or achievements, never become a slave to grades or vanity.

Body language is not crucial
　　Body language isn’t cultivated solely through verbal instructions like ‘lower your head a bit more, relax your body…’ and so forth. Even if a student manages to mimic such directions, the result will be stiff and unnatural. True body language emerges organically from an inner, spontaneous feeling. In other words, when a performer genuinely understands the piece and sings through the instrument from the heart, natural body language follows.

Interest is paramount
When a pupil begins as a novice, they are a blank slate. Cultivating foundational skills and nurturing interest during this phase is crucial. At this stage, not only the teacher but also the parents play a vital role. Creating a supportive environment fosters good habits and genuine interest; the opposite can be detrimental. In reality, many parents force their children to learn something they themselves dislike. Come weekends, parents either go out, play mahjong or watch television, confining the child to their room with a curt order to ‘practice for hours,’ all under the guise of ‘it’s for the child’s own good.’ Under such circumstances, it is exceedingly difficult for a child to develop genuine affection and passion for the guzheng. Many parents scrimp and save to buy instruments and pay tuition fees for their children, yet the child remains unenthusiastic. At this point, parents must reflect: have they created a conducive environment for practice and fostered a supportive learning atmosphere? It would be even better if parents themselves learned some music or another instrument. This would enable them to engage in discussions and play together with their child, greatly boosting the child’s motivation to learn.

Communication is paramount
The essence of art lies in exchange; progress stems from interaction. Communication permeates every aspect of learning – be it through lessons with a teacher, observing others’ performances, or casual conversations. Some fellow musicians possess an overly introverted disposition, finding it difficult to engage with others. For instance, when a fellow musician suggests, ‘Why not play a piece for everyone to enjoy?’, they may feel unable or unwilling to perform. They fear that those of lesser skill might accuse them of showing off, while those more accomplished might deem their playing inadequate. The more they dwell on such thoughts, the more barriers they erect for themselves.

Translated with DeepL.com (free version)