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The ASR-a't 6
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Music (wife# )~
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a J==}QEhQ{
work, but no one can hear it until it is performed. Professional singers and players have great z
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responsibilities, for the composer is utterly dependent on them. A student of music needs as long and /jR8|sb
as arduous a training to become a performer as a medical student needs to become a doctor. Most g92dw<$>
training is concerned with technique, for musicians have to have the muscular proficiency of an (-\]A|
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be c}% es=@
inadequate without controlled muscular support. String players practice moving the fingers of the left e8{^f] 5
hand up and down, while drawing the bow to and fro with the right arm—two entirely different (etUEb^}T
movements. JA<~xo[Q9
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this (xL
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particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s 3 T1P$E" m
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that .Vmtx
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound .a,(pq Jg
clear. ds]
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This problem of getting clear texture is one that confronts student conductors: they have to learn to ^!}F %
know every note of the music and how it should sound, and they have to aim at controlling these Ihg~Q4t
sound with fanatical but selfless authority. 7/?DP wbx
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists V9 T
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are those who are so thoroughly at home in the language of music that they can enjoy performing /'4Q{8.a
works written in any century. yp p 4L|R
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Schooling f&c]LH _
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