01 The Language of Music A painter

01音乐的语言<br>画家将完成的图片挂在墙上，每个人都可以看到。作曲家写了一部作品，但是直到完成后没人听见。专业的歌手和演奏者负有重大责任，因为作曲者完全依赖于他们。音乐学生需要与医学生一样长的艰苦训练才能成为表演者。大多数培训都与技巧有关，因为音乐家必须具备运动员或芭蕾舞演员的肌肉熟练水平。歌手每天练习呼吸，因为如果没有可控的肌肉支撑，他们的声带将不足。弦乐器演奏者练习上下移动左手的手指，同时用右臂来回拉弓，这是两种完全不同的动作。<br>歌手和乐器必须能够完美地调和每一个音符。钢琴家可以避免这种特殊的焦虑，因为音符已经在那儿等待着，钢琴调音师有责任为他们调音。但是他们有自己的困难。必须敲打敲打琴弦的锤子，使其听起来不像敲击声，而且每个重叠的音调都必须听起来清晰。<br>这种清晰的质感问题是学生指挥所面临的一个问题：他们必须学会了解音乐的每一个音符及其应如何发声，并且他们必须以狂热但无私的权威来控制这些声音。<br>除非结合了音乐知识和理解，否则技术是没有用的。伟大的艺术家是那些在音乐语言方面如此精通的人，他们喜欢欣赏任何世纪以来创作的作品。

01 音乐语言<br> 画家把完成的照片挂在墙上，每个人都能看到。作曲家创作作品，但在演奏之前没有人能听到。职业歌手和演奏家责任重大，因为作曲家完全依赖他们。一个音乐学生需要经过漫长而艰苦的训练才能成为一名表演者，而医学生需要成为一名医生。大多数训练都涉及技术，因为音乐家必须具有运动员或芭蕾舞演员的肌肉熟练程度。歌手每天练习呼吸，因为他们的声带将不足没有控制的肌肉支持。弦乐手练习上下移动左手的手指，同时用右臂来回画弓——两个完全不同的动作。<br> 歌手和乐器必须能够得到完美的调整每一个音符。钢琴家们免去这种特殊的焦虑，因为音符已经在那里，等待他们，这是钢琴调谐器的责任，为他们调音乐器。但他们有自己的困难;敲击绳子的锤子必须被哄骗， 不要听起来像打击乐， 每个重叠的语气必须听起来清晰。<br> 获得清晰质感的问题，是学生指挥者面临的一个问题：他们必须学会了解音乐的每一个音符，以及音乐应该如何发出的声音，他们必须用狂热但无私的权威来控制这些声音。<br> 除非与音乐知识和理解相结合，否则技术是没有用的。伟大的艺术家是那些在音乐语言中如此彻底的家，他们可以享受表演作品写在任何世纪。

01 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 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.<br>