d2s OYCKe
fFjH "2W D
01 \Ep0J $ #o
The D }3XFuZs_
Language l8K5k:XCU3
of FZiW
| G
Music A~nf#(!^]
A painter hangs his or her finished pictures on a wall, and everyone can see it. A composer writes a PN+G:Qv
work, but no one can hear it until it is performed. Professional singers and players have great +MK6z
f
responsibilities, for the composer is utterly dependent on them. A student of music needs as long and ,a?
\M M9$
as arduous a training to become a performer as a medical student needs to become a doctor. Most M9!AIHq4
training is concerned with technique, for musicians have to have the muscular proficiency of an ')S;
[= v
athlete or a ballet dancer. Singers practice breathing every day, as their vocal chords would be =rPrPb
inadequate without controlled muscular support. String players practice moving the fingers of the left H(0q6~|
hand up and down, while drawing the bow to and fro with the right arm—two entirely different =G~~?>=@2
movements. weMww,: ^[
Singers and instruments have to be able to get every note perfectly in tune. Pianists are spared this zBf-8]"^
particular anxiety, for the notes are already there, waiting for them, and it is the piano tuner’s {+zJI-XN/
responsibility to tune the instrument for them. But they have their own difficulties; the hammers that 2Ha5
yaTL
hit the string have to be coaxed not to sound like percussion, and each overlapping tone has to sound KRsAv^']
clear. v;y0jD#b
This problem of getting clear texture is one that confronts student conductors: they have to learn to tNs~M4TVVH
know every note of the music and how it should sound, and they have to aim at controlling these <I;*[ ;AK
sound with fanatical but selfless authority. [-*F"}D,
Technique is of no use unless it is combined with musical knowledge and understanding. Great artists 'k&?DZ!
are those who are so thoroughly at home in the language of music that they can enjoy performing XM
Vq -8B0
works written in any century.
PBks`
|+
02 O}Ui`eWU
Schooling j&6 jRX
and FgA//)1
Education |c -LSs'\
It
