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01 Obgn?TAVX
The ^q-]."W]t~
Language - Ob'/d5&
of T?4M Fx#
Music )cJ9YKKy
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a yw `w6Z3K
work, but no one can hear it until it is performed. Professional singers and players have great LX[<Wh_X(
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and pUutI|mt/
as arduous a training to become a performer as a medical student needs to become a doctor. Most J.W0F # ?
training is concerned with technique, for musicians have to have the muscular proficiency of an Eyv%"+>
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be ( S$ ziV
inadequate without controlled muscular support. String players practice moving the fingers of the left _CN5,mLNRk
hand up and down, while drawing the bow to and fro with the right arm—two entirely different /FJ )gQYA
movements. JnQ5r>!>3
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this = &jLwy
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s 1 41@$mMzE
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that -7,xjn
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound 8;K'7
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clear. i eQQ{iGJH
This problem of getting clear texture is one that confronts student conductors: they have to learn to m<qPj"g~L
know every note of the music and how it should sound, and they have to aim at controlling these mj:X'BVA
sound with fanatical but selfless authority. V<:scLm#OF
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists $L%gQkz_
are those who are so thoroughly at home in the language of music that they can enjoy performing l&#&} 3M
works written in any century. f GS5{dti
02 D32~>J.F
Schooling : 'p+Ql~c
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Education 4+46z|
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