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Updated: May 23, 2025
"The technic thus achieved, a technic whose controlling power is chiefly mental, is not perfect I say so frankly because it is more or less dependent on the state of the artist's nervous system. Yet it is the one and only kind of technic that can adequately and completely express the musician's every instinct, wish and emotion.
You ask me what are the essential differences between the modern technic and the technic of the older periods? It is very difficult to discuss this question off-hand and it is one which might better be discussed in an article of a different character. One difficulty lies in the regrettable tendency of modern technic toward being a purpose in itself.
Busoni may be cited as one who employs the end of the finger Pauer also; while the Frenchman, Cortôt, who has an exquisite tone, plays with the hand almost flat on the keys, a method which certainly insures weight of hand and arm. Of course players generally, and teachers also, agree on the employment of arm weight in playing. The principles of piano technic are surely but few.
Some vaudeville buffoon or some gypsy fiddler may have more attractive power than the virtuoso who had spent years in developing his mind and his technic. By what mystic means magnetism may be developed, the writer does not pretend to know.
But if it is conceded that all large forms of human association must, because of sheer practical difficulty, contain men who will come to see the need for an expert reporting of their particular environment, then the imagination has a premise on which to work. In the exchange of technic and result among expert staffs, one can see, I think, the beginning of experimental method in social science.
Hence, diagnostic ability is the prime requisite; and a thorough knowledge of pathologic anatomy or of surgical technic is of little value if this knowledge is not applied with the insight of the trained diagnostician. The cruel and unnecessary methods employed by those untrained for diagnostics, cannot be too vigorously condemned.
What will follow this evolution of technic no man can predict. The lessons of the past, however, are valuable, and to-day one touch of Turner's brush is more sought for than acres of canvases so greatly prized twenty years after his death. And this is not alone confined to the old realistic English school.
It is this consummate mastery and control of condition and movement that lead the superficial observer to imagine that the great artist gives no thought to such things as position, condition and movements. Never was there a greater mistake. The finest perfection of technic has been acquired with painstaking care, with minute attention to exacting detail.
Bloomfield Zeisler says: "Piano technic includes so much! Everything goes into it: arithmetic, grammar, diction, language study, poetry, history and painting. In the first stages there are rules to be learned, just as in any other study. I must know the laws of rhythm and meter to be able to punctuate musical phrases and periods.
It filed out in the center of the arena where the creatures upon the rocks might see it, and there it performed for fifteen or twenty minutes. Their technic consisted in waving their tails and moving their heads in a regular succession of measured movements resulting in a cadence which evidently pleased the eye of the Mahar as the cadence of our own instrumental music pleases our ears.
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