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<div><font class="Apple-style-span">Dear Pieter,</font></div>
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<div><font class="Apple-style-span">What a terrific project! I look forward to the results.</font></div>
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<div><font class="Apple-style-span">In the meantime, I will take this opportunity to ask a question I have been meaning to for a while. Can the collective wisdom of the list cite the first of the use of the term half cadence, or comparable term, particularly
as a <i>harmonic </i>concept? </font></div>
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<div><font class="Apple-style-span">(And thanks to all the responses to my last inquiry—they were helpful.)</font></div>
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<div><font class="Apple-style-span">Best,</font></div>
<div><font class="Apple-style-span">Frank</font></div>
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<div>Frank Samarotto</div>
<div>Associate Professor of Music Theory</div>
<div>Jacobs School of Music</div>
<div>Indiana University Bloomington</div>
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<div style="font-family: Consolas, monospace; font-size: 12px; ">On 12/3/12 2:52 AM, "Pieter Bergé" <<a href="mailto:Pieter.Berge@arts.kuleuven.be">Pieter.Berge@arts.kuleuven.be</a>> wrote:</div>
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<div>Dear Dimitar,</div>
<div>dear colleagues,</div>
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<div>Personally, I was less surprised by the fact that the cadence-page in Wikipedia is a "mish-mash" indeed then by the idea that someone would expect this page to be a reliable source of information. In music theory, I cannot think of a concept that has created
more "imbroglio's" then the whole history of opera buffa itself. For sure, it is a worthwhile enterprise to investigate if "cadences" could be integrated in one coherent system or typology, but given the fact that different cadence concepts - not to mention
different cadence names - often emerge in completely different theoretical paradigms (both synchronically and diachronically) makes such an attempt practically impossible. Therefore, the first thing to do seems to map the different types and names of cadences
in the history of music theory, to investigate how they were interpreted by different theorists, to reconstruct how they 'traveled' through Europe and beyond, how they were translated in ways that caused confusion, etcetera etcetera.</div>
<div>At the University of Leuven, we currently try to assemble all cadence names/types that were used in the eighteenth century or that were introduced later with reference to that period (We hope to broaden our scope in a later phase). At this moment we have
assembled over 400 cadence names (including terminology in English, French, German, Italian, and Latin). For each of the terms we try to present (1) a definition [but in the majority of cases it is a list of definitions!], (2) an overview of sources in which
the specific term is used (in order to clarify the 'history' of each cadence name), (3) an anthology of the relevant excerpts from this sources themselves, (4) a list of examples from the repertoire. By the end of 2013 we would like hope to publish our work
on www.thecadencecompendium.com . From that moment onwards, our compendium will be open for additions, corrections and discussions by the collective wisdom. Also, around the same period, we plan to edit a concise paper version of the compendium, only including
basic information on the different kinds of cadences, and mainly conceived as a manual for students and scholars.</div>
<div>By compiling the cadence compendium, we obviously are not trying to neutralize the cadential labyrinth as it is, but only to fill it with signposts. To give you a more specific idea of our ambitions, I hereby include just one (very) provisional example.</div>
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<div>Pieter Bergé</div>
<div>University of Leuven, Belgium</div>
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