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Music T1TKwU8l
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a rZ<n0w
work, but no one can hear it until it is performed. Professional singers and players have great IV$pA`|V
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and K5-wuD1
as arduous a training to become a performer as a medical student needs to become a doctor. Most wYnsd7@I
training is concerned with technique, for musicians have to have the muscular proficiency of an 69{^Vfd;Y
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be k.nq,
inadequate without controlled muscular support. String players practice moving the fingers of the left J6Uo+0S
hand up and down, while drawing the bow to and fro with the right arm—two entirely different nG<_&h
movements. K3jKOV8
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this 6XyhOs%/
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s ^Glmg}>q
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that (.~#bl
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound 3|4jS"t{f
clear. o*OYZ/_L
This problem of getting clear texture is one that confronts student conductors: they have to learn to 1fBj21zG
know every note of the music and how it should sound, and they have to aim at controlling these 5S
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sound with fanatical but selfless authority. g?,\bmH E
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists @~pIyy\_
are those who are so thoroughly at home in the language of music that they can enjoy performing h}PeXnRU
works written in any century. R;+vE'&CO
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Schooling ! d Ns3d
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