Résumés
Abstract
This article challenges two of William E. Caplin’s basic precepts regarding cadences in the classical style. First, the author argues that melody and texture contribute to the onset of cadential function. Second, he contends that themes may end not only with a half or authentic cadence, but also with a “closural function”, which substitutes for cadential function through a “cadence-like progression”. Moreover, he discusses how a theme may end with a cadence such that its melody and bass resolve at different times, a phenomenon he calls the separated cadence.
Résumé
Cet article remet en question deux des postulats de base William E. Caplin concernant les cadences dans le style classique. Tout d’abord, l’auteur fait valoir que la mélodie et la texture aident à délimiter la fonction cadentielle. Il soutient ensuite que tant la demi-cadence que la cadence authentique peuvent marquer la fin d’un thème, tout comme peut le faire une « fonction conclusive », qui se substitue à la fonction cadentielle par une « progression quasi cadentielle ». En outre, il explique comment une cadence peut conclure un thème de telle sorte que sa mélodie et sa basse se résolvent à différents moments, un phénomène qu’il appelle la cadence séparée.
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Biographical note
Mark Richards completed a doctorate in music theory at the University of Toronto in 2011 and is on faculty at the University of Lethbridge. His research focuses on form and style in music of the classical period, especially Beethoven. He has an article published in Theory and Practice titled “Viennese Classicism and the Sentential Idea: Broadening the Sentence Paradigm,” and forthcoming articles in Music Theory Spectrum and Journal of Music Theory Pedagogy.
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