{"id":255631,"date":"2026-07-13T04:31:12","date_gmt":"2026-07-13T01:31:12","guid":{"rendered":"https:\/\/1kitap1.com\/en\/cadence-a-study-of-closure-in-tonal-music-william-e-caplin\/"},"modified":"2026-07-13T04:31:12","modified_gmt":"2026-07-13T01:31:12","slug":"cadence-a-study-of-closure-in-tonal-music-william-e-caplin","status":"publish","type":"post","link":"https:\/\/1kitap1.com\/en\/cadence-a-study-of-closure-in-tonal-music-william-e-caplin\/","title":{"rendered":"Cadence A Study Of Closure In Tonal Music – William E Caplin"},"content":{"rendered":"
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3 . H a l f C a d e n c e 269 13\u2013\u200b15, is one such case. If we consider that the progression embraces the I\u2076 in the whole of measure 13, then we can recognize the three-\u200bbar minimum ECP as previously defined. Alternatively, we could hear the cadential idea only beginning with the fourth quarter-\u200bnote upbeat to measure 14 (thus regarding most of m. 13 as precadential).<\/p>\n

In that case, it would be preferable to analyze a compact HC. In either event, when we compare the length of the cadence closing the main theme (mm. 7\u2013\u200b8) with that closing the transition (mm. 13\u2013\u200b15 or 14\u2013\u200b15, depending on one\u2019s analysis), we see that the latter is more expansive, which accords with the norms of tight-\u200bknit versus loose organization for a sonata-\u200bform exposition, even a miniature one. We often find that a three-\u200bmeasure half cadential ECP sees the first two bars filled with pre-\u200bdominant harmony, with the final dominant in the third bar (Ex.<\/p>\n

5.55). In this nonconventional I normally consider an authentic ECP to last at least four bars, sufficient in scope to support a full phrase of music. This min- imum makes sense, since it allows all four stages to occupy a full bar, a situation that regularly obtains (see again Ex. 5.48, 5.49, and 5.50). This criterion, however, is not entirely adequate for a half cadential ECP, which contains only three harmonic stages.<\/p>\n

If each harmony were accorded a single bar, then such a three-\u200bmeasure unit may prove somewhat short to support what we normally take to be a complete phrase. Yet, it seems reasonable that if each har- mony of the progression lasts one measure, then, like the case of an authentic ECP, we should probably accept three bars as a prac- tical minimum for a half cadential expansion.<\/p>\n

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Oxford University Press is a department of the University of Oxford. It furthers the University\u2019s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016, United States of America. \u00a9 Oxford University Press 2024 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization.<\/p>\n

Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. CIP data is on file at the Library of Congress ISBN 978\u20130\u201319\u2013778216\u20133 (pbk.)<\/p>\n

ISBN 978\u2013\u200b0\u2013\u200b19\u2013\u200b005644\u2013\u200b5 (hbk.) DOI: 10.1093\/\u200boso\/\u200b9780190056445.001.0001 Paperback printed by Sheridan Books, Inc., United States of America Hardback printed by Bridgeport National Bindery, Inc., United States of America For my sister, Wendy Ann Caplin Preface xiii Acknowledgments xvii Guide to the Analytical Annotations xix 1. Ideas of Closure 1 1.1. Closure in Literature 2 1.2. Closure in Music 4 1.2.1. Leonard Meyer 4 1.2.2. Kofi Agawu 6 1.2.3.<\/p>\n

Robert Hatten 6 1.2.4. Patrick McCreless 7 1.2.5. Mark Anson-\u200bCartwright 8 PART I. THE CLASSICAL CADENCE 11 2. General Concepts of the Classical Cadence 13 2.1. Traditional Notions of Cadence 14 2.2. Cadence as Formal Closure 15 2.2.1. Formal Units Closed by Cadence; Cadence and Phrase 16 2.2.2. Cadence and Higher-\u200bLevel Formal Units 17 2.3. Cadence as Harmony; Harmony as Cadence 20 2.3.1.<\/p>\n

Progression Types 21 2.3.1.1. Prolongational Progressions 22 2.3.1.2. Sequential Progressions 22 2.3.1.3. Cadential Progressions 22 Contents viii Contents 3.2. Imperfect Authentic Cadence 82 3.2.1. Morphology 83 3.2.1.1. Basic Tenor Stream (8\u0302\/\u200b6\u0302\/\u200b5\u0302\/\u200b3\u0302); Varied (5\u0302\/\u200b6\u0302\/\u200b5\u0302\/\u200b3\u0302) 83 3.2.1.2. Prinner Cadence 85 3.2.1.3. Other Patterns; Melodic Diversion 86 3.2.1.4. Combined Patterns 88 3.2.1.5. Ending on 5\u0302?<\/p>\n

90 3.2.2. Function 93 3.2.2.1. Independent IAC 93 3.2.2.2. Way-\u200bStation IAC 94 3.2.2.3. Additional Functions of the IAC 96 3.3. Half Cadence 101 3.3.1. General Conditions for Half Cadence 102 3.3.2. Morphology\u2014\u200bHarmonic Content 103 3.3.2.1. Stage 1\u2014\u200bInitial Tonic 104 3.3.2.2. Stage 2\u2014\u200bPre-\u200bdominant 104 3.3.2.3.<\/p>\n<\/blockquote>\n

This is a short excerpt from the opening of “” by Unknown, quoted for review and introduction purposes. All rights belong to the copyright holders.<\/em><\/p>\n

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