但现实是，古典音乐世界的资源非常有限，音乐厅的演出席位有限，被反复邀请的往往是同一批人。要让一个新面孔进入这个体系，需要非常大的推动力，尤其是在市场层面。有些人比较幸运，即使不参加比赛也能被看见，但对更多人来说，如果没有表面的“卖点”，没有重要人物的支持，也不是社交媒体上的红人，几乎只有通过比赛才能挤进那批音乐厅常客当中，打开一些原本不会为你敞开的门。在获得奖项之前，你是同样的演奏者，但很多音乐厅不会考虑邀请你，因为他们已经有足够的人选来填满整个演出季。这就是现实。
This overhead is mandated by the spec's reliance on promises for buffer management, completion, and backpressure signals. While some of it is implementation-specific, much of it is unavoidable if you're following the spec as written. For high-frequency streaming — video frames, network packets, real-time data — this overhead is significant.
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Цены на нефть взлетели до максимума за полгода17:55
The problem gets worse in pipelines. When you chain multiple transforms – say, parse, transform, then serialize – each TransformStream has its own internal readable and writable buffers. If implementers follow the spec strictly, data cascades through these buffers in a push-oriented fashion: the source pushes to transform A, which pushes to transform B, which pushes to transform C, each accumulating data in intermediate buffers before the final consumer has even started pulling. With three transforms, you can have six internal buffers filling up simultaneously.
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