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
righ 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 sound 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.
大多数培训关注的是技术，为音乐家必须有肌肉
熟练的运动员或芭蕾舞演员。歌手实践
呼吸每一天，因为他们的声带将不足没有控制
肌肉的支持。弦乐演奏实践移动手指的左手了
和下降，同时提请弓来回的
正确臂两个完全不同的运动。
歌手和手段必须能够得到每注完全一致。
钢琴幸免这个特别的焦虑，对债券已经存在，
等待他们，这是钢琴调谐器的责任来调整他们的工具。
但他们有自己的困难;的铁锤击中字符串必须哄着不
听起来像敲击，每个重叠基调已经建立健全明确的。
这个问题得到明确的纹理是面对学生导体：
他们必须知道，知道每一个注意到的音乐，以及应如何健全，
他们必须着眼于控制这些声音与狂热，但无私的权威。
技术是没有用的，除非是配合音乐的认识和了解。
伟大的艺术家是谁如此彻底在家中使用的措辞
音乐，他们可以享受表演作品在任何世纪。
大多数是技能的训练,他们必须要有肌肉
水平的运动员或芭蕾舞演员。歌手实践
呼吸的每一天,作为他们的发音能够不完全控制
肌肉的支持。弦乐演奏动人左手的手指上
同时拉弓
权利这样两个截然不同的动作。
歌手和乐器必须使每个音符的完美结合。
钢琴家就没有这种特定的焦虑,因为音调早已在那里,
等待他们,钢琴调音师的责任,为他们定好。
但是他们也有自己的难点;锤打在钢琴
听起来像打击乐,每个叠音必须清晰。
这个问题弄清楚是困惑学生教导员。
他们必须清楚地知道每个音符的音乐,它应该怎样的声音,
他们必须针对控制这些声音与狂热而无私的权威。
技术是毫无用处的,除非它是结合音乐方面的知识和理解。
伟大的艺术家是那些驾轻就熟的语言
音乐可以让他们演奏在任何时代创作的作品。
