作為一位成熟的、專業的鋼琴演奏家，準確的掌握、理解、體現各個不同時代的風格特徵尤為重要。

冇錯
所以話,事前ge準備真係唔可以少
要完全理解歌曲的風格, 同明白歌曲的意思
先可以彈奏出一首動聽的歌

不然, 死板地彈奏,只能說是一個"彈琴機器"

但重要的是,演奏者有冇投入自己的感情
否則,都係功虧一簣

本人係學習中樂的
而中樂與西樂之不同,就在於此
中樂講的是個人的感情
西樂講的是歌曲的風格

呵呵~有點離題

由此,我認同你ge 講法
不過要+上個人的感情~

Two problems with this statement.
1) "準確的掌握、理解、體現" - in defining any particular period in music history, 準確 simply does not exist. History is interpreted differently by different historians, based on different angles of approach, and similarly the differences apply to subsequent musical hermeneutics. My many years of studies have not yet yielded a "準確" definition of anything - for example, what is precisely Bach's compositional style? Who in the whole wide world can give a precise and exact definition? Or what is precisely French music of late 19th century? Music history and interpretative methology is not an exact science. Even up till today scholars are still arguing about the meaning of some notations of Mozart and Beethoven, or certain character in Debussy's Preludes (where the title of each Prelude comes at the end of the piece), etc.. No, a pianist, no matter how professional he is, does not, and will never, have 準確的掌握、理解、體現.
The important aspect, however, is that he will persistently pursue, or 追求. No pianist should think that he has 準確的掌握、理解、體現. If he does, then his work is finished! 作為一位成熟的、專業的鋼琴演奏家, his work is about pursuing and working consistently and diligently, not about scoring "100" and finishing his work. In music, nothing will ever be finished, achieved, accomplished. There is always something you don't know, something you need to know, something you want to know more.

2) "成熟的、專業的鋼琴演奏家" - This process of pursuing, or 追求, knowledge, is NOT limited to 成熟的、專業的鋼琴演奏家. So you are telling me that a student need not know about music history, aesthetics, performance history, etc.? This is a phenonmenon in Hong Kong: people always think that studying and hardwork only applies to professionals. In fact, knowledge is necessary at any level of studies, not just for professionals. That is the problem in music teaching in Hong Kong!
A professional musician is also one who looks at himself as an eternal student of music. Learning, pursuing, refining, are all aspects of a musician, professional or not.
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Your statement is very typical of music teaching in Hong Kong, and these statements are responsible for all the inadequacies of musicians and music teachers here. Because of this, people in Hong Kong will always think that professionals such as Lang Lang and Yundi are perfect pianists (already 準確的掌握、理解、體現) when in fact they are working harder than you can imagine, or the lack of musical knowledge among teachers and students because people here thinks that these knowledge are only for professionals (作為一位成熟的、專業的鋼琴演奏家).

Yes, I agree.