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    The Language of Music

    A painter hangs his or her finished picture 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 instrumentalists 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  strings  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.全文翻譯：音樂的語言畫家將已完成的作品掛在墻上，每個(gè)人都可以觀賞到。  作曲家寫完了一部作品，得由 演奏者將其演奏出來，其他人才能得以欣賞。因?yàn)樽髑�家是如此完全地依賴于職業(yè)歌手和職 業(yè)演奏者，所以職業(yè)歌手和職業(yè)演奏者肩上的擔(dān)子可謂不輕。

    一名學(xué)音樂的學(xué)生要想成為 一名演奏者，需要經(jīng)受長期的、嚴(yán)格的訓(xùn)練，就象一名醫(yī)科的學(xué)生要成為一名醫(yī)生一樣。 絕 大多數(shù)的訓(xùn)練是技巧性的。

    音樂家們控制肌肉的熟練程度，必須達(dá)到與運(yùn)動員或巴蕾舞演 員相當(dāng)?shù)乃�平�?歌手們每天都練習(xí)吊嗓子，因?yàn)槿绻�不能有效地控制肌肉的話，他們的聲帶將不能滿足演唱的要求。  弦樂器的演奏者練習(xí)的則是在左手的手指上下滑動的同時(shí)，用 右手前后拉動琴弓——兩個(gè)截然不同的動作。歌手和樂器演奏者必須使所有的音符完全相同協(xié)調(diào)。鋼琴家們則不用操這份心，因?yàn)槊總�(gè)音符都已在那里等待著他們了。

    給鋼琴調(diào)音是調(diào) 音師的職責(zé)。 但調(diào)音師們也有他們的難處： 他們必須耐心地調(diào)理敲擊琴弦的音錘，不能讓 音錘發(fā)出的聲音象是打擊樂器，而且每個(gè)交疊的音都必須要清晰。如何得到樂章清晰的紋理 是學(xué)生指揮們所面臨的難題：他們必須學(xué)會了解音樂中的每一個(gè)音及其發(fā)音之道。  他們還 必須致力于以熱忱而又客觀的權(quán)威去控制這些音符。除非是和音樂方面的知識和悟性結(jié)合起 來，單純的技巧沒有任何用處。 藝術(shù)家之所以偉大在于他們對音樂語言駕輕就熟，以致于 可以滿懷喜悅地演出寫于任何時(shí)代的作品。