Abstract and Keywords
This article defines cadence as a convention of musical ending realized through counterpoint. It encodes the principle of imperfect sonorities resolving to perfect sonorities. The authentic cadence is unambiguously enacted in a five-part texture, and its constituent parts can be rearranged through invertible counterpoint to create provisional endings, labeled clausulas. Analytic demonstrations of these cadences and clausulas are given in music by Bach and Telemann. The plagal cadence is defined in dualist terms as the counterpart of the authentic, while the half cadence is defined as an authentic cadence that stops at the penult. Cadences can be altered by rhetorical schemes of continuation or emphasis, and specific schemes of these kinds are named and defined.
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