1. Create a good artistic environment

Music is the crystallization of human creativity and imagination. Musical activities are human spiritual needs that transcend material life. Music practitioners are rich in special talents. and the creator of emotional willpower, so the cultivation of musical talents requires a special atmosphere and environment. Over the years, the Central Conservatory of Music has gradually formed its own school-running philosophy in the process of exploring the rules for cultivating music talents. This philosophy is to create an open, imaginative and creative academic atmosphere in the school, as well as a diverse, advanced and Vibrant arts environment.

Schools must first consider setting up some courses that can open students' minds in addition to some "boring" courses surrounded by traditional theories. There is no doubt that the content of these traditional history courses and music technology theory courses is what students in the conservatory need to master and understand. Teachers can also arouse students' interest through improvements in teaching methods and teaching content; but these courses themselves Nature can still imprison students’ imaginations. For example: the strict rules in traditional harmony and the unsurpassed test specifications will not only make students feel boring, but also limit their imagination. The content of these courses and the rules required to be mastered in the courses are certainly the knowledge and skills that students need to learn, but how to combine these rules more with art and extend them to modern technology so that students can learn from a broader perspective? It is even more important to understand traditional composition techniques and open up their imagination. Therefore, schools need to offer courses that allow students to discuss freely and courses that extend historically. Music conservatory courses usually include three parts: the first part is professional courses, which is an unshakable course content. In addition to teaching students professional skills, it is more important for teachers to enable students to have sufficient ability to fully grasp the connotation and style of works, and to form a self-awareness of the connotation and style of works. The second part is professional basic courses, including composition theory courses and music history courses. This part of the course needs to be constantly updated with the development of music art, that is, it needs to keep pace with the times. This is also an important symbol that distinguishes the level of teaching in conservatories. In a good music school, teachers who undertake courses in this area will definitely teach students the latest knowledge and cutting-edge theories, so that students can understand the current trends in music culture so that they can make their own latest judgments in the process of professional learning. The third part is general basic courses. The courses in this part are mainly designed to improve students' cultural literacy, usually focusing on humanities, social sciences and related disciplines. How to choose courses in this area also reflects the level of the music school’s curriculum. Such courses should include more content that can be refreshing to students, or content that can give students full imagination. This requires teachers to have sufficient knowledge accumulation and a broad academic vision.

Secondly, schools should create an open and diverse artistic environment for students. This is mainly done by organizing various academic music activities, including academic lectures, music festivals in different categories, such as Wind Music Festival, Chamber Music Festival, Modern Music Festival, etc., and master classes in different categories (composition, piano, violin, cello, etc.) . Allow students to make independent judgments and think independently while participating in different academic activities. A high-level music school must have many academic activities beyond the curriculum. Holding these academic activities can, on the one hand, open the door of the school and allow many music experts from outside the school to participate in the school's school-running activities. They may hold master classes, hold academic reports, or participate in music festival performances, which can bring benefits to the school. Come to a lot of fresh academic atmosphere. On the other hand, it allows students to have more practical opportunities. Students' participation in music festival performances and organizational activities will undoubtedly be of great benefit to improving students' stage practical abilities and social activity abilities.

Thirdly, in addition to organizing various academic activities, the school must also create a large number of off-campus practice opportunities for students so that they can improve their professional standards in creation, performance and research evaluation. Students should become the main body of the school, and they should create the lively academic atmosphere and artistic environment of the school. On the one hand, schools should organize regular and fixed-point practical activities for students, such as setting up fixed-point off-campus practice bases, including professional art troupes and local cultural institutions, and regularly sending students to these practice bases for internships and performance activities. In addition to establishing practice bases at the Central Opera House, Sun Yat-sen Conservatory of Music and other literary troupes and music venues in Beijing, the Central Conservatory of Music has also established art practice bases with local cultural institutions across the country to improve students' performance abilities through off-campus practice. On the other hand, the school should create exchange and performance opportunities for students at home and abroad to help students enter the artistic stage in advance. For example, participating in local or national cultural activities locally or abroad, including creation, performance and criticism; helping students participate in international performance exchanges, or performances at cultural festivals, music festivals, or national foreign exchange performances Activity. In this way, students can produce results while they are still students and start to face the society and the public. At the same time, the school must also pay full attention to the construction of student associations and realize the concept of student autonomy and student-led education through student associations. Schools should support the creative activities of student clubs, protect and develop students' imaginative abilities, and make these creative and imaginative club activities an important part of creating a school academic environment.

2. Establish a scientific training approach

The approach to cultivating musical talents is different from that of general talent cultivation. It requires the identification, guidance and functional training of musical talents. At the same time, it must Put students' talents into practice to fully participate in music creation, performance and research evaluation. Over the years, the Central Conservatory of Music has gradually formed its own training methods in the process of exploring the rules for cultivating musical talents. This approach is: fully grasp the talent identification link, pay attention to early talent guidance and skill training, insist on the penetration of artistic and cultural accomplishments, cultivate high-standard artistic and academic vision, advocate extensive artistic practice, and encourage students to produce results during their time.

Making good talent identification is the top priority of the music school’s teaching work. The success of music school students depends first on the students' own talents. A teacher's teaching ability is largely reflected in the identification of students' talents. How the school grasps the selection of candidates in the enrollment work is the first important link in the school's teaching work. A high-level music school must regard talent selection as its top priority. When it comes to talent identification, we need to start from two aspects: On the one hand, identify candidates based on their current professional abilities. The identification work in this area is relatively easy, and this is also a routine examination method. On the other hand, it is necessary to predict the candidates' talents and future development prospects. This is a key link in talent identification, but it is often not easy to master and is often easily ignored.

Skill training for music performance majors must be completed at the primary and secondary school levels, and practice after college only consolidates skills. Although vocal performance is somewhat special due to the period of voice change from childhood to youth, early education is still important (piano and sight-singing ear training are important for students studying vocal music). Therefore, paying attention to the early education of music performance major is one of the important ways to cultivate musical talents. People's musical talent often appears in childhood, which is mainly reflected in the acuity of hearing and the adaptability of functions. Hearing acuity is often related to auditory inheritance and early auditory reception. The former is an innate auditory condition and depends on the parents' auditory genes; the latter is acquired experience and depends on the auditory environment in which the child grows. For example, children who receive early auditory training with fixed-pitch instruments (such as pianos) often develop fixed-pitch hearing abilities. Functional adaptability mainly refers to the functional conditions required for children to engage in musical activities. For example: the condition of the fingers is important for playing or playing the piano, the condition of the mouth is important for playing wind instruments, the condition of the vocal cords is a decisive factor in the success of the singer, etc. These innate or acquired musical conditions require early training before they can continue to develop and take shape as children grow older. Only through early training can their auditory acuity become increasingly sophisticated, and only through training can their functional adaptability be increasingly enhanced. In addition to vocal music majors (which require mature vocal cords as a necessary condition), other performance majors, especially string instrument playing, require early training. Therefore, instrumental music performance majors should pay attention to early training and carry out systematic professional training starting from teenagers. This is the law for cultivating music and art talents, and it is also a training link that professional music education must pay attention to.

Allowing students to receive high-standard artistic influence is also a very important part of training. It is necessary to continuously improve students' artistic taste, guide students to move towards a higher artistic level, and always maintain an enterprising spirit. Artistic edification of students, and high-standard and high-level artistic edification, is an important part of the conservatory's talent cultivation. A student's musical taste and artistic style determine whether the student can develop in the right direction, and ultimately whether he can become a true artist. Of course, students need to experience the feelings of various music forms. Whether it is classical music, modern music, ethnic folk music, or pop music, they should all be accepted. Only by experiencing the feelings of music in various styles and forms can they make a choice among them. ; But as a school, it must ensure that a certain number of classic works with high artistic standards are instilled in students in a variety of music styles, so as to ensure that a certain number of high-level musical tastes and artistic styles are maintained in students’ listening accumulation. The sound of the work. This high-style cultivation also includes creating conditions for students to experience the master's style. Schools should do their best to provide students with face-to-face opportunities with masters.

Encouraging students to achieve results during their student years is also one of the educational philosophies of a high-level music school. Judging from the rules of musical talent development, students majoring in instrumental music performance already have strong stage performance abilities in middle school. At this time, schools need to provide them with various performance opportunities to showcase their own abilities and establish an artistic performance foundation. of self-confidence. Many students are already internationally competitive in music performance in middle school or in the lower grades of college, which also requires schools to provide them with opportunities for various music competitions. Students majoring in composition generally produce results at the university level. Students during this period are the most creative and imaginative. Especially for those students with talents, it is necessary to fully protect their creativity and imaginative creative enthusiasm and encourage them to actively create. We also create various creative opportunities for them and support them in participating in various composition competitions and social creation activities. Musicology majors need to hone their academic will and accumulate extensive academic experience, including music knowledge related to humanities such as history and aesthetics. At the same time, they also need to accumulate musical aural aesthetic experience.

The period of maturity in musicology is approximately in the senior year of college and the postgraduate level. Therefore, as a music education institution, conservatories must fully consider the development patterns of different majors when designing professional development paths for students.

3. Pursuing an artistic management system

The management model of the Conservatory of Music should also follow the rules of cultivating artistic talents. The Central Conservatory of Music advocates loose interpersonal relationships and strict discipline in management. The management system should be succinct and humanized, and at the same time, the management of special talents can be eclectic and special.

First of all, it is necessary to establish a complete set of management systems that conform to the rules of running a music school. It is impossible to run a higher education institution without systems. However, if some systems restrict artistic innovation and students' creativity, it will inevitably bring harm to talent training and the overall running of the school, so it must be resolutely corrected. Therefore, a good system must be established on the basis that is conducive to academic development and artistic innovation.

Secondly, this system must also be established on a fully humane basis. If some systems restrict the freedom of teachers and students, or affect the development of teachers and students outside of teaching and learning, they must also be improved. Art should be based on sufficiently loose interpersonal relationships. The humanization of the management system is conducive to the mental health of people who study music and engage in music work. A healthy psychology is the source of artistic creation. Full respect for the development of human personality is the key to artistic creation. When schools set regulations for the management of teachers and students, on the one hand, they must have clear basic requirements for teachers and students, that is, teachers and students must strictly fulfill the basic requirements for teaching and learning. This is mainly reflected in the teacher's attitude towards lectures and students' attitude towards listening to lectures. This attitude is not only reflected in the form, such as the time of class, the communication attitude of both parties, etc., but also in the content, such as the teacher's preparation of lessons, the attitude towards the course, etc. Cutting-edge thinking on content, students’ initiative in listening to lectures, etc. At the same time, teachers and students must be unconditionally required to strictly abide by a series of rules and regulations formulated by the school, such as the no-smoking system, classroom management system, examination system, financial system, etc. On the other hand, in addition to formulating these rigid systems, schools should also consider giving teachers and students sufficient space.

School management, institutions and institutions, and teachers and teachers should all interact in a relationship of equality, mutual assistance, equality and mutual benefit. In short, there must be a relaxed interpersonal relationship. In addition, when dealing with special talents, schools should have a special management method to avoid burying geniuses. The Central Conservatory of Music is currently implementing the "Top Innovative Talent Training Plan" (also known as the "BOB Plan", the abbreviation of Best of best). As a major project in the reform of the national education system, this plan focuses on cultivating domestic and international first-class musical talents. Task. After selection, a new teaching management system will be set up for selected students, and new ideas for cultivating outstanding musical talents will be explored through special funding support, innovative training models, etc.