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Music
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A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a pV!WZ Ufg
work, but no one can hear it until it is performed. Professional singers and players have great +bR|;b(v
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and F7/%,vf
as arduous a training to become a performer as a medical student needs to become a doctor. Most A ;6ew4
training is concerned with technique, for musicians have to have the muscular proficiency of an g&Uu~;jq]
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be |+JC'b?,
inadequate without controlled muscular support. String players practice moving the fingers of the left Q4Qf/q;U
hand up and down, while drawing the bow to and fro with the right arm—two entirely different b.8T<@a
movements. <xrya _R?
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this R((KAl]dL
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s g706*o)h
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that @3U=kO(^+\
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound W[e2J&G
clear. SLH;iqPT
This problem of getting clear texture is one that confronts student conductors: they have to learn to
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know every note of the music and how it should sound, and they have to aim at controlling these "5Z5x%3I
sound with fanatical but selfless authority. -D 1 A
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists )(c% QWz
are those who are so thoroughly at home in the language of music that they can enjoy performing -q
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works written in any century. +CXq41g"c
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Schooling }^b
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Education 9A|9:OdG1
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