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The Language of Music
A painter hangs his or her finished pictures on a wall, and everyone can
see it. A composer writes a work, but no one can hear it until it is performed.
Professional singers and players have great responsibilities, for the composer
is utterly dependent on them. A student of music needs as long and as arduous a
training to become a performer as a medical student needs to become a doctor.
Most training is concerned with technique, for musicians have to have the
muscular proficiency of an athlete or a ballet dancer. Singers practice
breathing every day, as their vocal chords would be inadequate without
controlled muscular support. String players practice moving the fingers of the
left hand up and down, while drawing the bow to and fro with the right arm-two
entirely different movements.
Singers and instruments have to be able to get every note perfectly in
tune. Pianists are spared this particular anxiety, for the notes are already
there, waiting for them, and it is the piano tuner’s responsibility to tune the
instrument for them. But they have their own difficulties; the hammers that hit
the string have to be coaxed not to sound like percussion, and each overlapping
tone has to sound clear.
This problem of getting clear texture is one that confronts student
conductors: they have to learn to know every note of the music and how it should
sound, and they have to aim at controlling these sounds with fanatical but
selfless authority.
Technique is of no use unless it is combined with musical knowledge and
understanding. Great artists are those who are so thoroughly at home in the
language of music that they can enjoy performing works written in any century.
The Language of Music
A painter hangs his or her finished pictures on a wall, and everyone can
see it. A composer writes a work, but no one can hear it until it is performed.
Professional singers and players have great responsibilities, for the composer
is utterly dependent on them. A student of music needs as long and as arduous a
training to become a performer as a medical student needs to become a doctor.
Most training is concerned with technique, for musicians have to have the
muscular proficiency of an athlete or a ballet dancer. Singers practice
breathing every day, as their vocal chords would be inadequate without
controlled muscular support. String players practice moving the fingers of the
left hand up and down, while drawing the bow to and fro with the right arm-two
entirely different movements.
Singers and instruments have to be able to get every note perfectly in
tune. Pianists are spared this particular anxiety, for the notes are already
there, waiting for them, and it is the piano tuner’s responsibility to tune the
instrument for them. But they have their own difficulties; the hammers that hit
the string have to be coaxed not to sound like percussion, and each overlapping
tone has to sound clear.
This problem of getting clear texture is one that confronts student
conductors: they have to learn to know every note of the music and how it should
sound, and they have to aim at controlling these sounds with fanatical but
selfless authority.
Technique is of no use unless it is combined with musical knowledge and
understanding. Great artists are those who are so thoroughly at home in the
language of music that they can enjoy performing works written in any
century.
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（兼职编辑：张博）
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发表于 2016-7-10 15:25:17