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<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>In a most repertoire the final is in fact
approached by the usual 6-8 motions you describe, but the final is often sustained
in one voice. This is the coda-like thing that Burmeister calls the
supplementum – he says these motions “make it very clear that the
ending has arrived” (Rivera’s translation, p. 151 ). The so-called plagal
cadence generally results from the oblique motions that occur while the final
is being sustained. Sometimes the final is only virtually sustained, with all
voices moving, but the effect is the same.<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>What I’d like to know is where this
term occurs for the first time. I don’t recall seeing it in any treatise
in the sixteenth century or even the early 17<sup>th</sup>. My bet is French
treatises from the late 17<sup>th</sup>-early 18<sup>th</sup> cc.<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'><o:p> </o:p></span></font></p>
<div>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>Peter Schubert, Chair</span></font><font
color=navy><span style='color:navy'><o:p></o:p></span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>Department of Music Research</span></font><font
color=navy><span style='color:navy'><o:p></o:p></span></font></p>
<p class=MsoNormal><st1:place w:st="on"><st1:PlaceName w:st="on"><font size=2
color=navy face=Arial><span style='font-size:10.0pt;font-family:Arial;
color:navy'>Schulich</span></font></st1:PlaceName><font size=2 color=navy
face=Arial><span style='font-size:10.0pt;font-family:Arial;color:navy'> <st1:PlaceType
w:st="on">School</st1:PlaceType></span></font></st1:place><font size=2
color=navy face=Arial><span style='font-size:10.0pt;font-family:Arial;
color:navy'> of Music</span></font><font color=navy><span style='color:navy'><o:p></o:p></span></font></p>
<p class=MsoNormal><st1:place w:st="on"><st1:PlaceName w:st="on"><font size=2
color=navy face=Arial><span style='font-size:10.0pt;font-family:Arial;
color:navy'>McGill</span></font></st1:PlaceName><font size=2 color=navy
face=Arial><span style='font-size:10.0pt;font-family:Arial;color:navy'> <st1:PlaceType
w:st="on">University</st1:PlaceType></span></font></st1:place><o:p></o:p></p>
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<p class=MsoNormal><b><font size=2 face=Tahoma><span style='font-size:10.0pt;
font-family:Tahoma;font-weight:bold'>From:</span></font></b><font size=2
face=Tahoma><span style='font-size:10.0pt;font-family:Tahoma'>
smt-talk-bounces@societymusictheory.org
[mailto:smt-talk-bounces@societymusictheory.org] <b><span style='font-weight:
bold'>On Behalf Of </span></b>Cristóbal García<br>
<b><span style='font-weight:bold'>Sent:</span></b> Saturday, April 18, 2009
2:34 PM<br>
<b><span style='font-weight:bold'>To:</span></b>
smt-talk@societymusictheory.org<br>
<b><span style='font-weight:bold'>Subject:</span></b> [Smt-talk] Plagal cadence</span></font><o:p></o:p></p>
</div>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'><o:p> </o:p></span></font></p>
<div>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'>Dear List,<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'>I would like to ask about plagal cadence in 16th (and
15th) century music. What is interesting to me is the fact that this cadence
seems to escape the basic cadential process of this kind of music: the progress
from an imperfect to a perfect consonance (usually major 6th to octave) in a
two-voice framework (usually proceeding stepwise by contrary motion), typically
preceded by a dissonance (the 7th as a suspension).<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'>I have two main questions:<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<ul style='margin-top:0in' type=disc>
<li class=MsoNormal style='mso-list:l0 level1 lfo1'><font size=3
face="Times New Roman"><span lang=EN-GB style='font-size:12.0pt'>Does
somebody know about theoretical explanations of the plagal cadence in 16th
century music?<o:p></o:p></span></font></li>
</ul>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<ul style='margin-top:0in' type=disc>
<li class=MsoNormal style='mso-list:l1 level1 lfo2'><font size=3
face="Times New Roman"><span lang=EN-GB style='font-size:12.0pt'>Was
plagal cadence seen as conclusive enough by itself to end a work (since it
is usually preceded by a more usual cadence)?<o:p></o:p></span></font></li>
</ul>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'>(I must say that I’m not an expert on 16th
century music theory –though I´ve read on the subject-, so forgive me if
these are too simple questions)<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'>Thanks,<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span lang=EN-GB
style='font-size:12.0pt'><o:p> </o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'>Cristobal Garcia-Gallardo<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'>Conservatorio de Malaga (<st1:country-region w:st="on"><st1:place
w:st="on">Spain</st1:place></st1:country-region>)<o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'><a href="mailto:garciagallardo@terra.es">garciagallardo@terra.es</a><o:p></o:p></span></font></p>
<p class=MsoNormal><font size=3 face="Times New Roman"><span style='font-size:
12.0pt'><o:p> </o:p></span></font></p>
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