| Contents |
Ideas of closure. Closure in literature -- Closure in music. Leonard Meyer ; Kofi Agawu ; Robert Hatten ; Patrick McCreless ; Mark Anson-Cartwright -- Part 1. The classical cadence. General concepts of the classical cadence. Traditional notions of cadence -- Cadence as formal closure -- Cadence as harmony, harmony as cadence -- Bass-line melody and cadence -- Cadential arrival versus cadential function -- Cadential function versus cadential content -- Limited cadential scope -- Cadential function versus postcadential function -- "End" versus "stop" -- Cadence as punctuation -- Cadential strength, syntactical versus rhetorical -- Basic cadence types: morphology and function. Perfect authentic cadence -- Imperfect authentic cadence -- Half cadence -- Additional aspects of the basic cadence types -- Cadential deviations. Deceptive cadence -- Evaded cadence -- Abandoned cadence -- Dominant arrival -- Combinations of deviations -- Cadential ambiguities. Piano sonata in A minor, K. 310, i, mm. 1-10 / Mozart ; String quartet in D, op. 71, iii, mm. 1-10 / Haydn -- Cadential expansion. Perfect authentic cadence -- Imperfect authentic cadence -- Half cadence -- Deviations -- A cadential conundrum -- Expanded cadential progressions in Beethoven's symphonies. Symphony no. 1 in C, op. 21, i, subordinate-theme group ; Symphony no. 2 in D, op. 36, iv, coda ; Symphony no. 3 in E-flat ("Eroica"), op. 55, i, second subordinate theme ; Symphony no. 5 in C minor, op. 67, iv, subordinate theme, coda themes ; Symphony no. 6 in F ("Pastoral"), op. 68, iv, subordinate theme ; Symphony no. 7 in A, op. 92, i, coda theme ; Symphony no. 9 in D minor ("Choral"), op. 125, i, main theme ; Symphony no. 9 in D minor ("Choral"), op. 125, iv, coda -- Part 2. Cadence in other tonal styles. Cadence in the high baroque. Authentic cadence -- Half cadence -- Miscellaneous issues -- Cadence in fugue: J.S. Bach's Well-Tempered Clavier. Three case studies. Fugue in D, WTC 1 ; Fugue in E-flat, WTC 1 ; Fugue in G-sharp minor, WTC 1 -- Cadence in the galant era. Morphology of the galant cadence -- Cadential deviations -- Extension and expansion techniques -- Galant cadence in relation to formal functions -- Cadence in the romantic era. Chromaticism and dissonance -- Root-position harmonies -- Uniform harmonic rhythm and density -- Off-tonic openings, ECP openings -- Formal circuality -- Symmetrical grouping structures -- Sequence versus cadence -- Prolongational closure -- Lack of formal closure -- Cadential deviations. "Mondnacht" ; "Waldesgespräch" -- Ultimate versus penultimate dominants, dissipated cadence -- Prinner cadence -- Analytical notes to Chopin's preludes, op. 28. Prelude no. 1 in C ; Prelude no. 2 in A minor ; Prelude no. 3 in G ; Prelude no. 4 in E minor ; Prelude no. 5 in D ; Prelude no. 6 in B minor ; Prelude no. 7 in A ; Prelude no. 8 in F-sharp minor ; Prelude no. 9 in E ; Prelude no. 10 in C-sharp minor ; Prelude no. 11 in B ; Prelude no. 12 in G-sharp minor ; Prelude no. 13 in F-sharp ; Prelude no. 14 in E-flat minor ; Prelude no. 15 in D-flat ; Prelude no. 16 in B-flat minor ; Prelude no. 17 in A-flat ; Prelude no. 18 in F minor ; Prelude no. 19 in E-flat ; Prelude no. 20 in C minor ; Prelude no. 21 in B-flat ; Prelude no. 22 in G minor ; Prelude no. 23 in F ; Prelude no. 24 in D minor -- Cadence in the mid- to late nineteenth century. Tonic arrival -- Pre-dominant arrival, subdominant arrival -- Plagal cadence/plagal closure -- Prolongational closure -- Detour cadence -- Iconic cadence -- Cadential deviations -- Cadential ambiguities -- Four case studies. String quartet in G minor, op. 27, finale / Grieg ; Symphony no. 7 in D minor, second movement / Dvorak ; Sonata in B minor / Liszt ; Prelude to Tristan und Isolde / Wagner. |
| Abstract |
Chapter 1 first surveys general concepts of closure in everyday life, gestalt psychology, and literature, and then turns to how some recent theorists conceptualize closure in music. Some principles of perception and cognition (e.g., 'laws' of proximity, similarity, and continuity) are applicable to musical closure, as well as the general distinction between stopping and ending. Closure is further characterized by many writers as either a temporal or atemporal (or spatial) phenomenon, the former being most applicable to the sense of ending in music. Especially important are two concepts suggested by Barbara Herrnstein Smith for poetic closure: the use of 'terminal modification' following a series of repetitions and the idea of formal circularity, created by bringing back opening lines to conclude a poem. The chapter shows how all of these ideas resonate in discussions on closure by music theorists. Some of their formulations are relatively abstract, while others are more pertinent to the topic of cadential closure specifically. Leonard Meyer discusses how closure is created foremost by syntactical parameters (harmony, melody, meter); Kofi Agawu differentiates between closure (a global phenomenon) and ending (a more local one): Robert Hatten proposes a notion of 'dramatic' closure, while Patrick McCreless relates musical closure to a more general sense of narrative closure. Finally, Mark Anson-Cartwright offers three definitions of musical closure all of which characterize it as expressing ending and finality. |
