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Edward Lowinsky considered the cadence the "cradle of Tonality ." (Judd, 1998) CLASSIFICATION OF CADENCES IN COMMON PRACTICE TONALITY In music of the ):
Cadences can also be classified by their rhythmic position. A masculine cadence occurs on a strong position, typically the downbeat of a Measure . A '''feminine cadence''' occurs in a metrically weak position, for instance, after a long Appoggiatura (see also Feminine Ending ). Masculine cadences are considered stronger and are generally of greater structural significance. (To avoid offending those sensitive to sex stereotypes, the Society For Music Theory endorses the terms "metrically accented" and "metrically unaccented cadence" in their ''Guidelines for Nonsexist Language''.) {Link without Title} Likewise, cadences can be classified as either transient (a pause, like a comma in a sentence, which implies that the piece will go on after a brief lift in the voice) and terminal (more conclusive, like the period or other terminal punctuation, which implies that, at least for the time being, we are done). Most transient cadences are half cadences (which stop momentarily on a dominant chord), though IAC or deceptive cadences are also usually transient, as well as Phrygian cadences. Terminal cadences are usually PAC or sometimes plagal ("Amen") cadences. CADENCES IN MEDIEVAL POLYPHONY Medieval cadences are based upon Dyads rather than chords. The first theoretical mention of cadences comes from Guido Of Arezzo 's description of the ''occursus'' in his Micrologus , which is the term he gives to the end of a phrase of two-part polyphony where the two lines converge to a unison. A clausula is a dyadic or intervallic, rather than chordal or Harmonic , cadence. It requires at least two voices in Contrary Motion . According to Carl Dahlhaus (1990), "as late at the 13th century the Half Step was experienced as a problematic interval not easily understood, as the irrational remainder between the perfect fourth and the ditone (4/3) / (9/8)2 = 256/243 ." In a melodic half step, no "tendency was perceived of the lower tone toward the upper, or of the upper toward the lower. The second tone was not taken to be the 'goal' of the first. Instead, the half step was avoided in clausulas because it lacked clarity as an interval." Beginning in the 13th century cadences begin to require motion in one voice by half step and the other a Whole Step in contrary motion. In the 14th century, an ornamentation of this with an Escape Tone became known as the Landini Cadence , after a composer who used them prodigiously. CLASSICAL CADENTIAL TRILL In the Classical Period , composers often drew out the authentic cadences at the ends of sections; the V part of the cadence might take a measure or two. During these two measures, the solo instrument (in a Concerto ) often played a Trill on the Supertonic . These were by far most frequent in Mozart 's music, and although they were also found in early Romantic Music , their use was restricted chiefly to Piano Concerti (and to a lesser extent, Violin Concerti ) because they were most easily played and most effective on the piano and violin; the cadential trill and resolution would be generally followed by an orchestral coda. Because the music generally became louder and more dramatic in the music leading up to the cadence, they were used for climactic effect, and were often embellished by Romantic composers. Later on in the Romantic era, however, other dramatic virtuosic movements were often used to close sections instead. SOURCE
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