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The c>HK9z{
Language Hp Vjee
of D)Q)N I
Music [8XLK 4e
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a $s\UL}Gc
work, but no one can hear it until it is performed. Professional singers and players have great )
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responsibilities, for the composer is utterly dependent on them. A student of music needs as long and `_vB+a
as arduous a training to become a performer as a medical student needs to become a doctor. Most c~=B0K-
training is concerned with technique, for musicians have to have the muscular proficiency of an WG7k(Sp ]
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be +Qxu$#
inadequate without controlled muscular support. String players practice moving the fingers of the left m ee$"
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hand up and down, while drawing the bow to and fro with the right arm—two entirely different i3VW1~ .8
movements. \4d.sy0&>-
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this _ oFs #kW
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s e@#kRklV&
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that ORN6vX(1
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound 'heJ"k ?
clear. ^|!I +
This problem of getting clear texture is one that confronts student conductors: they have to learn to 5O/i3m26
know every note of the music and how it should sound, and they have to aim at controlling these %+)o'nf"U
sound with fanatical but selfless authority. d XHB #
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists & fC!(Oy
are those who are so thoroughly at home in the language of music that they can enjoy performing Sh6JF574T
works written in any century. fvq,,@23
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Schooling =sJ
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and {c?JuV4 q?
Education %+>s#Q2d
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