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Music X|3l*FL
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a 7vf?#^ RlV
work, but no one can hear it until it is performed. Professional singers and players have great Pa}
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responsibilities, for the composer is utterly dependent on them. A student of music needs as long and _ o-lNt+
as arduous a training to become a performer as a medical student needs to become a doctor. Most m=7Z8@sX},
training is concerned with technique, for musicians have to have the muscular proficiency of an eJm7}\/6`
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be
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inadequate without controlled muscular support. String players practice moving the fingers of the left 9^5D28y
hand up and down, while drawing the bow to and fro with the right arm—two entirely different 3>I
movements. 0-9.u`)#yu
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this D]UqM<0Rz
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s xQetAYP`
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that .}V&*-e p
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound .;'3Roi
clear. $)fybn Y
This problem of getting clear texture is one that confronts student conductors: they have to learn to %j=xL V\
know every note of the music and how it should sound, and they have to aim at controlling these 0B;cQSH!q
sound with fanatical but selfless authority. +-
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Technique is of no use unless it is combined with musical knowledge and understanding. Great artists S _B $-H|
are those who are so thoroughly at home in the language of music that they can enjoy performing i(k]}Di:
works written in any century. BIr 24N
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Schooling F$QA Ws
and J f,)Y>EI
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