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The 7h %4]
Language }Dn^d}?s||
of ^T:gb]i'Qa
Music AEY$@!8
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a RT^v:paNT2
work, but no one can hear it until it is performed. Professional singers and players have great )P?IqSEA%
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and Tzzq#z&F
as arduous a training to become a performer as a medical student needs to become a doctor. Most 3GF2eS$ $P
training is concerned with technique, for musicians have to have the muscular proficiency of an Tk*w3c"$
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be F30
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inadequate without controlled muscular support. String players practice moving the fingers of the left Tkw;pb
hand up and down, while drawing the bow to and fro with the right arm—two entirely different ^rL_C}YBj-
movements. ]N^*tO
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this \=;uu_v$
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s $d/&k`
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that DIaYo4
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound `pL^}_>|GM
clear. ~=En +J}*
This problem of getting clear texture is one that confronts student conductors: they have to learn to rkB'Hf
know every note of the music and how it should sound, and they have to aim at controlling these \L # INP4~
sound with fanatical but selfless authority. h1[WhBL-O
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists " B{E CM;
are those who are so thoroughly at home in the language of music that they can enjoy performing krB'9r<wa`
works written in any century. k `\R+WK$
02 EpYy3^5d
Schooling ^e Gue
and >9H@ |[C
Education ~Rpm-^
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