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The =. 2cZwxX$
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Music w" Y55EURB
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a V?=zuB?'
work, but no one can hear it until it is performed. Professional singers and players have great g&(~MD2{
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and tNNg[;0
as arduous a training to become a performer as a medical student needs to become a doctor. Most RB ojT
training is concerned with technique, for musicians have to have the muscular proficiency of an OG$iZiuf
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be WiCM,wDi
inadequate without controlled muscular support. String players practice moving the fingers of the left 9'L 0Al~L
hand up and down, while drawing the bow to and fro with the right arm—two entirely different vT<wd#
movements. ,OFr]74\
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this 5v-;*
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s >qGR^yvb
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that @x>2|`65Y
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound 5|={1Lp24g
clear. >knR>96
This problem of getting clear texture is one that confronts student conductors: they have to learn to HbV V]y
know every note of the music and how it should sound, and they have to aim at controlling these |>V>6%>vK6
sound with fanatical but selfless authority. `r bqYU0
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists L|'ME|
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are those who are so thoroughly at home in the language of music that they can enjoy performing
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works written in any century. %QZ!Tb
02 P9chRy
Schooling o D2; Tdk
and &H>dE]Hq,
Education j %0_!*#3
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