\chapter{Conclusion}
In this thesis we have seen differing forms of verbal communication. I have
investigated the content as well as the form of verbal utterances using
Pfisters typology. I have also tried to analyze the use of music in
supporting or undermining the differing forms of verbal communication in
{\ST}. 

Looking at the forms of verbal communication we see that the solo-forms are
almost non-existent in {\ST}. There are no real soliloquies or monologues
in the show. There is always at least one addressee on stage. Only the {\em
Epiphany} has some soliloquial characteristics.
This may be caused by the fact that speech in {\ST} is strongly related to
action. There is always dramatic progression during the speech/song act. Even
during pieces like the {\em Epiphany} or during the various love songs,
there is progress. In this aspect {\ST} differs from the 'normal' Broadway
musical where a song almost always stops the action.

Another reason for this strong relationship between action and speech may
be the fact that the music is constructed like movie score. In other words:
the music is almost continuous. As we can see from Appendix B, there are
numerous underscores. This means that music is used to accompany the
action. Because the
dramatic tension needs to be kept, this continuity is reflected in the
songs. Hence the strong relationship between song/speech and action.

Another observation we can make is that music is frequently used to
characterize a dramatic figure. I've given several examples of this in the
previous chapters. This characterization is not only done by using
lead-motives, but by other musical characteristics, like voice-type, the
rhythms a figure uses, melody-type, ambitus of a melody etc. These other
characteristic are even more noticeable than the lead-motives, which play
only a rather secondary role in {\ST}, in my opinion.

Apart from the fact that music has a strong characterizing function in
{\ST} it is also has a strong characterizing function when it comes to the
individual function. The function of an utterance is amplified by the
music. I have given several examples of this in the previous chapter.

What we have in {\ST} is a piece with a great amount of dramatic as well
musical continuity. Although its pace is not really opera-like, its
coherence is that of an opera. I would not hesitate to call {\ST} an opera, in
the great tradition of the German {\em Singspiele} and the British {\em
ballad opera's}. In its social criticism it's closely related to many of
the works of Brecht and Weill especially the {\em
Driegroschenoper}.

The unity of music, as we have seen, is retained throughout the piece,
as the music supports the dramatic progress. I think we can safely say,
that {\ST} is more an opera than a musical.
