f the soprano as though
laughing. Then he sang those of the tenor as though weeping."

"But those two passages of melody cannot be identical,"
objected the interviewer.

"Oh, yes, they are," the tenor declared; and he quickly
proved it by singing them over again with a less marked
indication of the moods. "Here you plainly see where
expression must start. It has to be from the words, of
course. The performer puts in the feeling of gladness or
sadness without regard to the notes, paying attention only
to the text."

Expression in choral music is dependent upon the text to just as great
an extent as in the case of solo singing; and choral conductors may
well ponder upon the above words of one of the world's greatest
singers, and apply the lesson to their own problems. The average
audience is probably more interested in the _words_ of vocal music
than in anything else; and since both vocal and choral performances
are usually given before "average audiences" it behooves the conductor
to look into the minds of those before whom he is directing, and to
adapt the performance to the attitude of the listeners.

CHAPTER V

INTERPRETATION IN CONDUCTING

(_Continued_)

TEMPO

[Sidenote: EXPRESSION IN INSTRUMENTAL MUSIC]

In the last chapter we discussed expression and interpretation from a
general standpoint, closing with certain comments upon the
interpretation of vocal music. But it must be admitted at once that
expression in instrumental music is a vastly more intricate matter
than in the case of vocal music; and in order to get at the subject in
any tangible way, it will be necessary for us, first, to analyze music
into its expressional elements; second, to decide which of these
elements belong exclusively to the composer and which are shared by
the interpreter; and third, to examine each of these latter elements
in turn from the standpoint of the conductor as interpreter.

[Sidenote: THE ELEMENTS OF EXPRESSION]

There are eight elements upon which expression in instrumental music
rests. These are:

1. Rhythm
2. Melody
3. Harmony
4. Pitch registers
5. Timbre
6. Phrasing
7. Tempo
8. Dynamics

Of these, the composer is able to indicate _exactly_ the first four,
to convey his meaning fairly well in the fifth and sixth, but to give
only a relative idea of the seventh and eighth. The interpreter is
thus concerned wit