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Music ? F/)<r
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a b A02)?L
work, but no one can hear it until it is performed. Professional singers and players have great DsCbMs=Y
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and .Zm de*b
as arduous a training to become a performer as a medical student needs to become a doctor. Most -muP.h/
training is concerned with technique, for musicians have to have the muscular proficiency of an Wp(R w4j
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be 8/ zv3.+[
inadequate without controlled muscular support. String players practice moving the fingers of the left i#:M2&twE
hand up and down, while drawing the bow to and fro with the right arm—two entirely different {-1N@*K
movements. 0S&C[I
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Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this sGO+O$J
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s xwa@h}\#
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that MN[D)RKh;
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound l`r O)7
clear. z
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This problem of getting clear texture is one that confronts student conductors: they have to learn to <{IeCir
know every note of the music and how it should sound, and they have to aim at controlling these (g 0U v.*
sound with fanatical but selfless authority. lu;gmWz
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists S~U5xM^s
are those who are so thoroughly at home in the language of music that they can enjoy performing 2hY"bpGW
works written in any century. aj]pN,g@N
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