[Smt-talk] Gender Terminology in Music Theory

[Paul Cadrin]

In 37 years of teaching basic theory, I have never used such terminology. We already have, in music and poetry, a term to designate what leads up to an accent: anacrusis. Logically, the accent is the "crusis" and what comes after is a "metacrusis".
 
Therefore, a so-called "masculine" cadence is a crusic cadence, and a so-called "feminine" cadence is a metacrusic cadence. That's the terminology I have always used - logical and non-sexist.

Paul Cadrin
Musicologue sans frontières
2-1475, avenue Desjardins
Montréal (Québec) Canada
H1V 2G5

 
> From: Jennifer.Bain at Dal.Ca
> To: dn16 at txstate.edu; smt-talk at lists.societymusictheory.org
> Date: Tue, 29 Apr 2014 18:56:23 +0000
> Subject: Re: [Smt-talk] Gender Terminology in Music Theory
> 
> So to refer to a cadence that ends on a strong metric position as
> masculine and one that ends on a weak metric position as feminine is not
> sexist...? Didn't we sort this out in 1991?
> 
> Jennifer
> 
> 
> Jennifer Bain, Ph.D.
> Chair, Dept. of Music
> 
> bainj at dal.ca
> 902-494-1142
> 
> Dalhousie University
> 6101 University Avenue
> Halifax, NS, B3H 4R2
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> On 14-04-29 11:49 AM, "Ninov, Dimitar N" <dn16 at txstate.edu> wrote:
> 
> >Dear Colleagues,
> >
> >Also, one must not forget the traditional terms "masculine cadence" and
> >"feminine cadence" as referred to the metric position of the final tonic.
> >This, of course, is not sexist language, although I do not rule out some
> >future "original contribution" referring to a third gender cadence, which
> >is neither masculine, nor feminine (ha-ha).
> >
> >Best regards,
> >
> >Dimitar
> >
> >Dr. Dimitar Ninov, Lecturer
> >School of Music
> >Texas State University
> >601 University Drive
> >San Marcos, Texas 78666
> >_______________________________________________
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> >Smt-talk at lists.societymusictheory.org
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> >ry.org
> 
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