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The GL oL4el
Language {RWahnr{
of ]7Xs=>"Iw
Music pw(*X,gj
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a T g}H < T
work, but no one can hear it until it is performed. Professional singers and players have great >Kqj{/SWK
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and 0.3[=a4 3
as arduous a training to become a performer as a medical student needs to become a doctor. Most D0"yZ p}
training is concerned with technique, for musicians have to have the muscular proficiency of an )xXrs^
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be ]MBJ" 1F
inadequate without controlled muscular support. String players practice moving the fingers of the left P7^TRrMF
hand up and down, while drawing the bow to and fro with the right arm—two entirely different `^@g2c+d
movements. Amq8q
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this ce-m )o/
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s |Cxip&e>
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that S
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hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound E,nYtn|B
clear. {yl/T:Bh&
This problem of getting clear texture is one that confronts student conductors: they have to learn to _<&K]e@dp
know every note of the music and how it should sound, and they have to aim at controlling these >H]|A<9u(
sound with fanatical but selfless authority. 5<>R dLo
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists Hr64M0V3B
are those who are so thoroughly at home in the language of music that they can enjoy performing ]((
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works written in any century. % /wP 2O<
02 GqF.T #|
Schooling AfbA.-
and 5d >YE
Education EIl$"^-
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