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The {
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Language @DR?^
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Music .#e?[xxk
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a ~|wh/]{b9
work, but no one can hear it until it is performed. Professional singers and players have great ",E$}=
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responsibilities, for the composer is utterly dependent on them. A student of music needs as long and L{6Vi&I84[
as arduous a training to become a performer as a medical student needs to become a doctor. Most F,GG>(6c
training is concerned with technique, for musicians have to have the muscular proficiency of an h7\1 6j
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be p EGHW;
inadequate without controlled muscular support. String players practice moving the fingers of the left ?
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hand up and down, while drawing the bow to and fro with the right arm—two entirely different h4M >k{
movements. ( v= Z$#l
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this %Zu+=I Z
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s
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responsibility to tune the instrument for them. But they have their own difficulties; the hammers that %LdFS~
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound <m?/yRE K2
clear. O#D
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This problem of getting clear texture is one that confronts student conductors: they have to learn to ? m.Ry
know every note of the music and how it should sound, and they have to aim at controlling these iv l_=
sound with fanatical but selfless authority. ^pa -2Ao6
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists &f>1/"lnd\
are those who are so thoroughly at home in the language of music that they can enjoy performing L/J)O Je \
works written in any century. >9]i#So^
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Schooling M6b6lhg
and K0?:?>*b#
Education |/35c0IM
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