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The Q4Qf/q;U
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Music R((KAl]dL
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a NO/5pz}1
work, but no one can hear it until it is performed. Professional singers and players have great @3U=kO(^+\
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and W[e2J&G
as arduous a training to become a performer as a medical student needs to become a doctor. Most SLH;iqPT
training is concerned with technique, for musicians have to have the muscular proficiency of an
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athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be YUyYVi7clq
inadequate without controlled muscular support. String players practice moving the fingers of the left J$T(p%
hand up and down, while drawing the bow to and fro with the right arm—two entirely different )(c% QWz
movements. ?iamo.0zN
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this 92N `Q}
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s l&m Y}k
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that ;RQ}OCz9}8
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound }D3hP|.X
clear. 3; !!`R>e
This problem of getting clear texture is one that confronts student conductors: they have to learn to Ysw&J
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know every note of the music and how it should sound, and they have to aim at controlling these F ^m;xy
sound with fanatical but selfless authority. QBfo=9[=e
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists : KGPQ@:O
are those who are so thoroughly at home in the language of music that they can enjoy performing \>{;,f
works written in any century. 2p58_^l
02 Ka%#RNW
Schooling k\g:uIsv$
and zH#urF6<
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