研究得发表，双盲审核打回重来时间流得快; 大学中学一样，得知道舍弃，做太多等于什么都没做好。刚看到朗朗羽佳导师也不让比赛

最近看到lang lang, yujia wang 导师分享为什么不让他们分心参加比赛:

https://youtu.be/vWf4rNcxfkI

YouTube summary 

Here's a breakdown of the key topics:

•    Fostering First-Rate Talent (0:42): Graffman emphasizes that musical talent should be discovered early, similar to sports (1:26). He highlights the importance of good teachers (1:56) and parental support, cautioning against excessive pressure, particularly in cultures like China where children might practice 10 hours a day (2:13).
•    Competitions (3:47): Graffman expresses his general opposition to competitions, noting that he didn't allow his students like Lang Lang (3:55) or Yuja Wang (4:13) to compete because they didn't need the exposure competitions offer. He explains that competitions can hinder learning new repertoire (5:20) as students focus on perfecting existing pieces. He provides an exception for students who haven't yet secured opportunities (6:01).
•    Influencing Individual Voice (6:16): Graffman states that fostering a student's individual voice is the teacher's job (6:24). He recalls his lessons with Horowitz, who never demonstrated at the piano but rather encouraged Graffman's own interpretation (6:42).
•    Playing for Horowitz (8:17): Graffman describes his experience playing for Horowitz weekly for a year and then monthly for three years (9:37), discussing various topics like gossip about colleagues (10:18) and art (10:38). He recounts Horowitz playing numerous pieces for him, ostensibly to decide on recording repertoire (11:16) but often just for the sake of playing (12:26).
•    Yuja Wang as a Student (13:16): He describes Yuja Wang as an "extremely fast learner" (13:35) with "no technical problems" (14:22), and notes her interest in diverse chamber music combinations (15:11).
•    Musician's Injuries and Focal Dystonia (15:27): Graffman discusses his own experience with focal dystonia, which began around age 50 and eventually prevented him from playing (16:32). He canceled numerous concerts (19:01) and sought various medical opinions, including a misdiagnosis of Parkinson's disease (20:25). He eventually became an experimental case at Mass General Hospital (21:26) where the term "focal dystonia" began to be understood in a musical context (22:15). He reflects on how the condition led him to explore other interests like teaching (24:02) and expresses hope that early detection might offer better outcomes for young musicians today (24:47).