could certainly not convey the correct idea of the
group to a listener if the most important words in it were not
stressed so as to stand out more vividly than the others. Although not
so readily understood because of the absence of symbolism, phrasing is
quite as important an element in the expressive rendition of music as
it is in the case of language. In order to interpret properly the
conductor must first of all determine what tones belong together in a
group; must make the individuality of these groups evident by slightly
separating them, but usually not to the degree of disturbing the basic
rhythmic flow; and must so manage the _dynamics_ and _tempo_ of each
phrase as to make its content clear to the listener. Many phrases are
so constructed that their proper delivery involves a gradual
_crescendo_ up to the climax (usually the highest tone) and a
corresponding _diminuendo_ from this point to the end of the phrase.

[Sidenote: PHRASING IN VOCAL MUSIC]

In vocal music, the matter of phrasing is comparatively simple because
here the composer has, in general, adapted the melody to the phrasing
of the text; and since in language we have definite ideas and concrete
imagery to assist us, all that we usually need to do in studying the
phrasing of vocal music is to follow carefully the phrasing of the
text. But even then a warning ought perhaps to be given the young
conductor regarding carelessness or ignorance on the part of singers
about some of the most fundamental principles of phrasing. The most
common mistakes made are:

1. Taking breath unnecessarily in the middle of a phrase.

2. Breathing between the syllables of a word.

3. Dividing a long phrase improperly.

4. Running over breathing places where a pause is really
necessary in order to bring out the meaning of the text.

5. Pronouncing the unaccented syllable of a word at the end
of a phrase with too much stress.

6. Failing to stress the climax sufficiently.

Mistakes of this kind are made because the singer all too frequently
fails to recognize the fact that the interpretation of vocal music
must be based upon the meaning of the text rather than upon purely
musical considerations (_cf._ quotation from Caruso on page 44).

A comma or rest ordinarily indicates the end of a phrase in vocal
music. If, however, the phrase as marked is too long to be taken in
one breath, the conductor should study it carefully for