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Music E;1QD/E$
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a q"LE6?hs
work, but no one can hear it until it is performed. Professional singers and players have great } "QL"%
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and S7B\m v
as arduous a training to become a performer as a medical student needs to become a doctor. Most !kW~s_gUb*
training is concerned with technique, for musicians have to have the muscular proficiency of an F[q )ME+`)
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be -3GlpC22
inadequate without controlled muscular support. String players practice moving the fingers of the left f|+aa6hN
hand up and down, while drawing the bow to and fro with the right arm—two entirely different 1[]
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movements. ^\ku}X_ [?
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this 0_&5S`tj
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s a&z$4!wQB
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that vu@@!cT6e
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound d~abWBgC`
clear. [gaB}aLn
This problem of getting clear texture is one that confronts student conductors: they have to learn to <Z
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know every note of the music and how it should sound, and they have to aim at controlling these GT 5J`
sound with fanatical but selfless authority. k0bDEz.X
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists d y. U;
are those who are so thoroughly at home in the language of music that they can enjoy performing T9NTL\;
works written in any century. [;Y*f,UG_-
02 GZ 1c~uAu
Schooling < 4 : %M
and D KRF#*[=d
Education qFE(H1hy
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