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The VfT*7_
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Music n3J53| %v
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a Z7 E
work, but no one can hear it until it is performed. Professional singers and players have great re> rr4@
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and Y@PI {;!
as arduous a training to become a performer as a medical student needs to become a doctor. Most o)'y .-@Q
training is concerned with technique, for musicians have to have the muscular proficiency of an
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athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be \
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inadequate without controlled muscular support. String players practice moving the fingers of the left ^MBm==heL
hand up and down, while drawing the bow to and fro with the right arm—two entirely different @LJpdvb
movements.
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Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this ayAo^q
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s ZJlEKib%2
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that Rp$}YN
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound . 7n\d55a
clear. Wh&8pH:
This problem of getting clear texture is one that confronts student conductors: they have to learn to LzYO$Ir:g
know every note of the music and how it should sound, and they have to aim at controlling these j(~ *'&|(
sound with fanatical but selfless authority. [TNj;o5J
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists _'#x^D
are those who are so thoroughly at home in the language of music that they can enjoy performing fryJW=
works written in any century. C:G8c[
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Schooling [~&XL0
and n`4K4y%Dy}
Education 7 w3CXY
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