What Is a Cadence?
Theoretical and Analytical Perspectives on Cadences in the Classical Repertoire
Edited by Markus Neuwirth and Pieter Bergé
Winner SMT Award 'Outstanding Multi-Author Collection' 2018
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).
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).
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
Format: Edited volume - ebook
ISBN: 9789461661739
Publication: April 20, 2015
Languages: English
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.