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The [lDt0l5^
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Music EM>c%BH<N
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a u|_I Twk
work, but no one can hear it until it is performed. Professional singers and players have great N7RG5 ?
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and ,kG w;8X
as arduous a training to become a performer as a medical student needs to become a doctor. Most o$[a4 I
training is concerned with technique, for musicians have to have the muscular proficiency of an ,d9%Ce.$2
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be /-G qG)PX
inadequate without controlled muscular support. String players practice moving the fingers of the left 7?n* t
hand up and down, while drawing the bow to and fro with the right arm—two entirely different H{
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movements. ($ [r> )TG
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this X:xC>4]gG'
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s S<2CG
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responsibility to tune the instrument for them. But they have their own difficulties; the hammers that teQaHe#
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound bJG!)3cx
clear. ,J`lr
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This problem of getting clear texture is one that confronts student conductors: they have to learn to :*F3
know every note of the music and how it should sound, and they have to aim at controlling these s)o ,Fi
sound with fanatical but selfless authority. 1drqWI~
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists {"gyX DE1
are those who are so thoroughly at home in the language of music that they can enjoy performing 4$q )
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works written in any century. NbQMWU~7
02 k^'d@1z;C
Schooling uV/HNzC
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