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The x7!gmbMfK'
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Music 5;X r0f
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a [LM9^*sG2V
work, but no one can hear it until it is performed. Professional singers and players have great nL+y"O
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and
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as arduous a training to become a performer as a medical student needs to become a doctor. Most /vs79^&
training is concerned with technique, for musicians have to have the muscular proficiency of an ^$s&bH'8
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be r3 dGX
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inadequate without controlled muscular support. String players practice moving the fingers of the left O=}d:yZb!
hand up and down, while drawing the bow to and fro with the right arm—two entirely different 4{ [d '-H5
movements. "
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Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this *tfD^nctO
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s ;tC$O~X
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that N(%(B
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound +
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clear. r@EHn[w
This problem of getting clear texture is one that confronts student conductors: they have to learn to .Nk5W%7]=
know every note of the music and how it should sound, and they have to aim at controlling these a U*}.{<!
sound with fanatical but selfless authority. 54#P
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists .' NTy
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are those who are so thoroughly at home in the language of music that they can enjoy performing u.Tknw-X
works written in any century. J,J6bfR/
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Schooling C;~LY&=
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