<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Dear List,</DIV>
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<DIV>the question concerning plagal cadence is not simply the problem of finding the earliest date it is mentioned in the sources. In fact, your question touches upn a much more serious distinction: whether the 6-8 endings in the era of counteproint are the same as the category of PAC, HC and Plagal Cadence in the era of harmony. I suggest to enlarge the topic and, hopefully, to find a theoretical answer to the question.</DIV>
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<DIV>Best,</DIV>
<DIV> </DIV>
<DIV>Ildar Khannanov<BR><BR>--- On <B>Sat, 4/25/09, John McKay <I><jzmckay@yahoo.com></I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><BR>From: John McKay <jzmckay@yahoo.com><BR>Subject: Re: [Smt-talk] Follow-up RE: Plagal cadence<BR>To: "smt-talk smt" <smt-talk@societymusictheory.org><BR>Date: Saturday, April 25, 2009, 1:24 AM<BR><BR>
<DIV class=plainMail><BR>The term occurs earlier in Tartini's "Trattato di musica" of 1754, pp. 102-103, where he refers to it as the "cadenza aritmetica," and once as the "cadenza Aritmetica Plagale". There, it is defined in terms of descending fourth bass motion; he doesn't write out the progression in full.<BR><BR>The term "plagal cadence" entered English before 1800 (cf. Encyclopedia Britannica of 1797, s.v. "Mode", where the term is used ambiguously, but seems to refer to a similar harmonic progression), and a number of treatises in the first decades of the 19th century have detailed descriptions. Many of these can be easily found in a basic Google Books search. I believe some of these early 19th-century treatises cite Tartini as the origin of the term, but I'm not sure of that.<BR><BR>John McKay<BR><BR>Doctoral Student<BR>Harvard University<BR><BR><BR>--- On Thu, 4/23/09, Richard Porterfield <<A
href="http://us.mc450.mail.yahoo.com/mc/compose?to=porterfr@hotmail.com" ymailto="mailto:porterfr@hotmail.com">porterfr@hotmail.com</A>> wrote:<BR><BR>> From: Richard Porterfield <<A href="http://us.mc450.mail.yahoo.com/mc/compose?to=porterfr@hotmail.com" ymailto="mailto:porterfr@hotmail.com">porterfr@hotmail.com</A>><BR>> Subject: [Smt-talk] Follow-up RE: Plagal cadence<BR>> To: "smt-talk smt" <<A href="http://us.mc450.mail.yahoo.com/mc/compose?to=smt-talk@societymusictheory.org" ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</A>><BR>> Date: Thursday, April 23, 2009, 2:30 PM<BR>> Martini, Esemplare, o sia saggio fondamentale pratico di<BR>> contrappunto sopra il canto fermo (Bologna, 1774-75) vol. 1,<BR>> 18-19: "la Cadenza Plagale" passes [in the bass]<BR>> by fourth to the fundamental, whereas "la Cadenza<BR>> Ordinaria" passes by fifth. Both kinds of cadence
are<BR>> employed in both authentic and plagal modes by the<BR>> "Maestri dell Arte," and he lists pieces by Porta<BR>> and Palestrina as examples. Further references at pp. 42,<BR>> 53-54, and in the subject index (!) under "Cadenza<BR>> Plagale" and "Cadenze Regolari" 243-44. <BR>> <BR>> <BR>> Richard Porterfield<BR>> <BR>> Mannes, CUNY GC<BR>> <BR>> <A href="http://us.mc450.mail.yahoo.com/mc/compose?to=porterf@hotmail.com" ymailto="mailto:porterf@hotmail.com">porterf@hotmail..com</A> <BR>> <BR>> <BR>> From: <A href="http://us.mc450.mail.yahoo.com/mc/compose?to=porterfr@hotmail.com" ymailto="mailto:porterfr@hotmail.com">porterfr@hotmail.com</A><BR>> To: <A href="http://us.mc450..mail.yahoo.com/mc/compose?to=smt-talk@societymusictheory.org" ymailto="mailto:smt-talk@societymusictheory.org">smt-talk@societymusictheory.org</A><BR>> Date: Thu, 23 Apr 2009 03:38:59 +0000<BR>> Subject: Re: [Smt-talk] Plagal
cadence<BR>> <BR>> <BR>> <BR>> <BR>> Padre Martini discusses the plagal cadence in his<BR>> Esemplare, o sia saggio fondamentale pratico di contrappunto<BR>> sopra il canto fermo (Bologna, 1774-75).. His use of the term<BR>> (in Italian) is the earliest I've seen. I believe he<BR>> says something to the effect that this cadence is not<BR>> restricted to plagal modes, but that he hints at a<BR>> connection. Sorry I can't give you a page or volume<BR>> number (two volumes). <BR>> <BR>> _________________________________________________________________<BR>> Windows Live™ Hotmail®:…more than just e-mail.<BR>> <A href="http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_more_042009_______________________________________________" target=_blank>http://windowslive.com/online/hotmail?ocid=TXT_TAGLM_WL_HM_more_042009_______________________________________________</A><BR>> Smt-talk mailing
list<BR>> <A href="http://us.mc450.mail.yahoo.com/mc/compose?to=Smt-talk@societymusictheory.org" ymailto="mailto:Smt-talk@societymusictheory..org">Smt-talk@societymusictheory.org</A><BR>> <A href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org" target=_blank>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</A><BR><BR><BR> <BR>_______________________________________________<BR>Smt-talk mailing list<BR><A href="http://us.mc450.mail.yahoo.com/mc/compose?to=Smt-talk@societymusictheory.org" ymailto="mailto:Smt-talk@societymusictheory.org">Smt-talk@societymusictheory.org</A><BR><A href="http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org" target=_blank>http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org</A><BR></DIV></BLOCKQUOTE></td></tr></table><br>