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The #!aN{nK0
Language - 8eoNzut
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Music #MX'^RZ>2
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a ,Sq/y~
work, but no one can hear it until it is performed. Professional singers and players have great F~%]6^$w
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and ,uo'c_f(e
as arduous a training to become a performer as a medical student needs to become a doctor. Most ??PC
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training is concerned with technique, for musicians have to have the muscular proficiency of an co~Pyj
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be !/}O>v~o
inadequate without controlled muscular support. String players practice moving the fingers of the left WM| dKF
hand up and down, while drawing the bow to and fro with the right arm—two entirely different #w,D
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movements. 0vEoGgY0*:
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this LQ(yScA@
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s 4{hps.$?~
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that @y='^DQ*
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound : >6F+XZ
clear. Wc,~ {
This problem of getting clear texture is one that confronts student conductors: they have to learn to mz @T
know every note of the music and how it should sound, and they have to aim at controlling these ]Y2RqXA*
sound with fanatical but selfless authority. 2
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Technique is of no use unless it is combined with musical knowledge and understanding. Great artists cxA ^:3
are those who are so thoroughly at home in the language of music that they can enjoy performing ;pqg/>W'
works written in any century. ZAv,*5&<
02 \@8+ U;d
Schooling K8>zF/# +
and e ?7& M
Education |?qquD 4=
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