What Is a Cadence?
Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire
Edited by Markus Neuwirth and Pieter Bergé
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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.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Pieter Bergé (KU Leuven), Poundie Burstein (City University of New York), Vasili Byros (Northwestern University), William Caplin (McGill University), Felix Diergarten (Schola Cantorum Basiliensis), Nathan John Martin (Yale University / KU Leuven), Danuta Mirka (University of Southampton), Markus Neuwirth (KU Leuven), Julie Pedneault-Deslauriers (University of Ottawa), Martin Rohrmeier (Massachusetts Institute of Technology), and David Sears (McGill University).
Harmony and Cadence in Gjerdingen's “Prinner”
The Half Cadence and Related Analytic Fictions
Fuggir la Cadenza, or The Art of Avoiding Cadential Closure
The Mystery of the Cadential Six-Four
“Hauptruhepuncte des Geistes”
The Perception of Cadential Closure
Towards a Syntax of the Classical Cadence
List of Contributors
Format: Edited volume - ebook
Publication: April 20, 2015
Markus Neuwirth is a postdoctoral researcher at the Department of Musicology at KU Leuven.
Pieter Bergé is hoogleraar Musicologie aan de KU Leuven en artistiek directeur van Festival 20.21 Leuven. Zijn boeken, zowel wetenschappelijke als populariserende, werden herhaaldelijk bekroond. Pieter Bergé is Professor of Music Analysis, History and Theory (1750-1900) at the KU Leuven. His main research topics are Arnold Schoenberg, German opera during the Weimar Republic, Formenlehre, instrumental music from 1770-1830, and 'analysis-and-performance'-issues.