Speed and accuracy may be important aspects of technique, but so are clarity, evenness, intonation, and many others. We hear it said of someone that he has 'great technique' but an ugly sound. This is a patent absurdity. The musician with an ugly sound may have great dexterity, which is but one aspect of technique, but he does not have a great technique. A complete technique implies the ability to play legato and sostenuto, in a wide range of dynamics and articulations, in every imaginable colour.
Good technique contains in itself the seeds of musicianship.
If you practice 'technique' in isolation from 'music', you risk mastering neither. You could easily find that you can play a passage evenly as long as you keep it empty of all expressivity, but that you lose technical control as soon as you attempt to make the passage expressive. Therefore, never execute a gesture or phrase without taking into consideration its musical character. To sum up the above points, you should always practise with the whole of yourself. A Musician's Guide to the Alexander Technique .