What is a Cadence? Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire

Description

The variety and complexity of cadence. The concept of closure is crucial to understanding music from the “classical” style. This volume focuses on the primary means of achieving closure in tonal music: the cadence. Written by leading North American and European scholars, the nine essays assembled in this volume seek to account for the great variety and complexity inherent in the cadence by approaching it from different (sub)disciplinary angles, including music-analytical, theoretical, historical, psychological (experimental), as well as linguistic. Each of these essays challenges, in one way or another, our common notion of cadence. Controversial viewpoints between the essays are highlighted by numerous cross-references. Given the ubiquity of cadences in tonal music in general, this volume is aimed not only at a broad portion of the academic community, scholars and students alike, but also at music performers. Introduction: What is a Cadence? Nine Perspectives Markus Neuwirth and Pieter Bergé Harmony and Cadence in Gjerdingen’s “Prinner” William E. Caplin Beyond ‘Harmony’ The Cadence in the Partitura Tradition Felix Diergarten The Half Cadence and Related Analytic Fictions Poundie Burstein Fuggir la Cadenza, or The Art of Avoiding Cadential Closure Physiognomy and Functions of Deceptive Cadences in the Classical Repertoire Markus Neuwirth The Mystery of the Cadential Six-Four Danuta Mirka The Mozartean Half Cadence Nathan John Martin and Julie Pedneault-Deslauriers “Hauptruhepuncte des Geistes” Punctuation Schemas and the Late-Eighteenth-Century Sonata Vasili Byros The Perception of Cadential Closure David Sears Towards a Syntax of the Classical Cadence Martin Rohrmeier and Markus Neuwirth List of Contributors Index