Relevant bibliographies by topics / Musical cadence

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Musical cadence'

Author: Grafiati
Published: 8 September 2021
Last updated: 29 July 2025

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Journal articles on the topic "Musical cadence"

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Кюрегян, Т. С. "Non-Musical Origins of Musical Categories." Научный вестник Московской консерватории, no. 1(40) (March 20, 2020): 96–111. http://dx.doi.org/10.26176/mosconsv.2020.40.1.007.

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Классические инструментальные формы справедливо трактуются как высшее выражение имманентно-музыкального начала в композиции. Однако многие их важнейшие категории очень долго и постепенно формировались в синкретичном искусстве, где музыка еще не получила автономию. Среди них мотив и каденция. Их происхождение обычно связывают со словесным текстом: предшественников одной сильной доли в мотиве находят в словесном ударении, в стихотворной стопе, а прообраз кадансового завершения видят в окончаниях словесных строк, предложений (в том числе стихотворных). Однако это был не единственный источник. Тан
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Smit, Eline A., Felix A. Dobrowohl, Nora K. Schaal, Andrew J. Milne, and Steffen A. Herff. "Perceived Emotions of Harmonic Cadences." Music & Science 3 (January 1, 2020): 205920432093863. http://dx.doi.org/10.1177/2059204320938635.

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Harmonic cadences are chord progressions that play an important structural role in Western classical music – they demarcate musical phrases and contribute to the tonality. This study examines participants’ ratings of the perceived arousal and valence of a variety of harmonic cadences. Manipulations included the type of cadence (authentic, plagal, half, and deceptive), its mode (major or minor), its average pitch height (the transposition of the cadence), the presence of a single tetrad (a dissonant four-tone chord), and the mode (major or minor) of the cadence’s final chord. With the exception
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Woolhouse, Matthew. "Probability and Style in the Chorales of J. S. Bach." Empirical Musicology Review 10, no. 3 (2015): 207. http://dx.doi.org/10.18061/emr.v10i3.4861.

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This paper discusses de Clercq’s contribution to our understanding of the relationship between scale degree and cadence type within Bach chorales from the perspective of style and probability. De Clercq is applauded for the diligence of this research and for attempting to synthesize findings into a practical, working model of benefit to music-theory students and educators. A literal interpretation of a premise underpinning his model—that more common musical events are more indicative of a style—is, however, found to be inconsistent. A test is described in which un
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Zacharakis, Asterios, Maximos Kaliakatsos-Papakostas, Costas Tsougras, and Emilios Cambouropoulos. "Creating Musical Cadences via Conceptual Blending." Music Perception 35, no. 2 (2017): 211–34. http://dx.doi.org/10.1525/mp.2017.35.2.211.

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The cognitive theory of conceptual blending may be employed to understand the way music becomes meaningful and, at the same time, it may form a basis for musical creativity per se. This work constitutes a case study whereby conceptual blending is used as a creative tool for inventing musical cadences. Specifically, the perfect and the renaissance Phrygian cadential sequences are used as input spaces to a cadence blending system that produces various cadential blends based on musicological and blending optimality criteria. A selection of “novel” cadences is subject to empirical evaluation in or
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Knobloch, Marie, Jesko L. Verhey, Michael Ziese, Marc Nitschmann, Christoph Arens, and Martin Böckmann-Barthel. "Musical Harmony in Electric Hearing." Music Perception 36, no. 1 (2018): 40–52. http://dx.doi.org/10.1525/mp.2018.36.1.40.

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A cochlear implant (CI) restores hearing for profoundly deaf patients by transmitting sound to an array of electrodes that stimulates the inner ear. The small number of frequency bands and limited transmission of temporal fine structure affects the music perception. The present work investigates the pleasantness of chords and chord sequences in adults using such electric hearing. In the first task, participants compared chord types according to their perceived pleasantness. Normal-hearing listeners judged the major chord and the minor chord as the most pleasant ones compared to other chord typ
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Gomeniuk, Svitlana. "Features of Cadences in Vocal and Choral Music of the Seventeenth Century (on the Example of Giovanni Palestrina’s Motets)." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 132 (November 29, 2021): 182–97. http://dx.doi.org/10.31318/2522-4190.2021.132.250002.

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The relevance of the study. The traditional idea of a cadence as a primarily harmonic phenomenon does not completely correspond to some musical styles, including Renaissance and early Baroque. Revealing the polyphonic essence of cadences in vocal works of the Renaissance, which is the aim of the article, allows deeper understanding peculiarities of musical thinking of that period.
 Scientific novelty. The historical approach to the analysis of cadences is quite common in foreign musicological works; this approach is still new for Ukrainian musicology. The research material is also new: th
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Vuvan, Dominique T., and Bryn Hughes. "Musical Style Affects the Strength of Harmonic Expectancy." Music & Science 2 (January 1, 2019): 205920431881606. http://dx.doi.org/10.1177/2059204318816066.

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Research in music perception has typically focused on common-practice music (tonal music from the Western European tradition, ca. 1750–1900) as a model of Western musical structure. However, recent research indicates that different styles within Western tonal music may follow distinct harmonic syntaxes. The current study investigated whether listeners can adapt their harmonic expectations when listening to different musical styles. In two experiments, listeners were presented with short musical excerpts that primed either rock or classical music, followed by a timbre-matched cadence. Results f
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Seger, Carol A., Brian J. Spiering, Anastasia G. Sares, et al. "Corticostriatal Contributions to Musical Expectancy Perception." Journal of Cognitive Neuroscience 25, no. 7 (2013): 1062–77. http://dx.doi.org/10.1162/jocn_a_00371.

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This study investigates the functional neuroanatomy of harmonic music perception with fMRI. We presented short pieces of Western classical music to nonmusicians. The ending of each piece was systematically manipulated in the following four ways: Standard Cadence (expected resolution), Deceptive Cadence (moderate deviation from expectation), Modulated Cadence (strong deviation from expectation but remaining within the harmonic structure of Western tonal music), and Atonal Cadence (strongest deviation from expectation by leaving the harmonic structure of Western tonal music). Music compared with
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Caplin, William E. "The Classical Cadence: Conceptions and Misconceptions." Journal of the American Musicological Society 57, no. 1 (2004): 51–118. http://dx.doi.org/10.1525/jams.2004.57.1.51.

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The article examines notions traditionally attached to the concept of cadence in general, retains those features finding genuine expression in "the classical style" (as defined by the instrumental works of Haydn, Mozart, and Beethoven), and investigates problematic ideas that have the potential of producing theoretical and analytical confusion. It is argued that cadence effects formal closure only at middle-ground levels of structure; a cadential progression is highly constrained in its harmonic content; cadential function precedes the moment of cadential arrival, whereas the music following t
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Гужва, О. П., and А. Р. Скрипник. "Cadence into the cello concerts by J. Haydn (history, analysis and principle of improvisation)." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 64–73. http://dx.doi.org/10.33287/221923.

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The purpose of this article is to identify the peculiarities of theinterpretation of cadences in cello concerts precisely C-dur and D-dur bycelebrated Joseph Haydn. In accordance with this goal, the following tasksof scientific research are defined, namely to identify the characteristicfeatures of cadence in a classical concert, to compare the features ofperformance by different performers. Discussion on the practice ofimprovising cadences in the 19th and 20th centuries. Methods of the studyare to apply comparative analysis of different approaches to improvisationin the 19th and 20th centuries
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Dissertations / Theses on the topic "Musical cadence"

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Turner, Jonathan J. Whitman Walt. "Cadence and form in Hindemith's "Lilacs" requiem /." Digitized version, 1996. http://hdl.handle.net/1802/5752.

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Thesis (Ph. D.)--University of Rochester, Eastman School of Music, 1996.<br>Includes vita and abstract. Accompanies: First symphony / by Jonathan J. Turner (1 score (107 p.) ; 28 cm.). Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/5752
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Atwell, Scott David. "Cadence, linear procedures and pitch structure in the works of Johannes Ockeghem." Full text available online (restricted access), 2001. http://images.lib.monash.edu.au/ts/theses/Atwell.pdf.

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Passanisi, Lucia A. "The International Musical Philanthropy Genre: A Cadence for Global Community, a Chorus for Change, and a Refrain for African Aid." Thesis, Boston College, 2011. http://hdl.handle.net/2345/2202.

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Thesis advisor: Bonnie Jefferson<br>In 1984, a group of famous British musicians came together to form the megagroup called Band Aid and released the holiday song “Do They Know It‟s Christmas?” to increase public awareness of the Ethiopian famine. A few months later, American musicians under the name United Support of Artists for Africa (U.S.A. for Africa) released the song “We Are the World” to raise money for these famine victims. Both songs were immensely popular and together created a new rhetorical form, the international musical philanthropy genre. Over twenty-five years after the releas
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Kim, Yereum. "A Performance-and-Analysis Approach to a Cadential Ambiguity: Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, First Movement." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609089/.

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Pianists often have trouble in determining where a phrase ends, or in other words, cadence identification. This is especially true of certain cadences that can be considered either as half cadences or authentic cadences. This analytically ambiguous cadential point can result in different performance decisions, so pianists should make informed decisions about what kind of cadence it is. This study aims to investigate such cadential ambiguity shown at points of phrase boundaries by focusing on Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, first movement. I offer both possibilities (a half
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Eder, Petrus. "Die modernen Tonarten und die phrygische Kadenz." Tutzing : H. Schneider, 2004. http://catalogue.bnf.fr/ark:/12148/cb391687346.

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Haro, Diogo de. "Improvisação na música contemporânea de concerto : parâmetros para execução da cadenza da peça "The days fly by" de Frederic Rzewski." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7539.

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A presente pesquisa apresenta uma proposta de treinamento para a improvisação de uma cadenza na peça “The Days Fly By” de Frederick Rzewski. A improvisação é um aspecto que se manifesta de várias maneiras no trabalho e na trajetória deste compositor, sendo ele próprio pianista reconhecido por seus improvisos de cadenzas em concertos tradicionais. Seu processo de composição está intimamente relacionado ao da improvisação. É comum em suas composições a inclusão de uma seção em aberto para ser improvisada pelo intérprete. Utilizo os conceitos de referente, base de conhecimento de Jeff Pressing e
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Yun, Xiao. "Tonal Enigmas: A Study of Problematic Openings and Endings." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248491/.

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When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a d
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Hamrick, David (David Russell). "Cadential Syntax and Mode in the Sixteenth-Century Motet: a Theory of Compositional Process and Structure from Gallus Dressler's Praecepta Musicae Poeticae." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279184/.

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Though cadences have long been recognized as an aspect of modality, Gallus Dressler's treatise Praecepta musicae poeticae (1563) offers a new understanding of their relationship to mode and structure. Dressler's comments suggest that the cadences in the exordium and at articulations of the text are "principal" to the mode, shaping the tonal structure of the work. First, it is necessary to determine which cadences indicate which modes. A survey of sixteenth-century theorists uncovered a striking difference between Pietro Aron and his followers and many lesser-known theorists, including Dressie
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Teixeira, Genoveva Manuela Lobo Marques Coelho. "Caracterização e Comparação Cinemática de Movimentos Básicos de Hidroginástica a Diferentes Ritmos de Execução: Análise do “Balanço lateral”." Master's thesis, 2010. http://hdl.handle.net/10348/632.

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Dissertação de Mestrado em Ciências do Desporto - Actividades de Academia<br>A Hidroginástica é uma actividade física que, reúne características que estimulam o desenvolvimento das principais componentes da aptidão física [100]. Para Rocha [90], esta é uma actividade que por ser realizada dentro de água, pode ser praticada por indivíduos de diversas faixas etárias, pois oferece uma reduzida carga mecânica sobre o aparelho locomotor, num ambiente supostamente descontraído e agradável do ponto de vista psicológico. O objectivo geral do presente estudo consistiu em analisar a associação entre a
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Santos, Catarina Maria Simões da Costa. "Kinetic analysis of two water fitness exercises: horizontal adduction and rocking horse." Master's thesis, 2020. http://hdl.handle.net/10316/96645.

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Dissertação de Mestrado em Biocinética apresentada à Faculdade de Ciências do Desporto e Educação Física<br>As atividades aquáticas relacionadas com a saúde, o bem-estar e com as questões sociais aumentam exponencialmente nos complexos desportivos aquáticos e proporcionam uma diversidade de programas de exercício e atividade física aquática com distintos formatos (por exemplo, deep water, corrida, treino em circuito e intervalado, cycling aquático, programas de dança, etc). Este interesse é atribuído principalmente às propriedades da água e aos potenciais benefícios associados. A maioria das i
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Books on the topic "Musical cadence"

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Celio-Scheurer, Marie-Ève. Cadence and counterpoint: Documenting Santal musical traditions. Niyogi Books, 2015.

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Brothers, Everly. Cadence classics: Their 20 greatest hits. Rhino, 1985.

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Michaud, Sébastien. Placebo: Des cadences et des maux. Camion blanc, 2005.

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Negri, Tomás Alva. Alicia Penalba: O de la cadencia musical en la escultura. Ediciones de Arte Gaglianone, 1986.

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Eder, Petrus. Die modernen Tonarten und die phrygische Kadenz. H. Schneider, 2004.

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Samuel, Gerhard. The Naumberg cadenza (1984): Violin solo. MMB Music, 1990.

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Schwind, Elisabeth. Kadenz und Kontrapunkt: Zur Kompositionslehre der klassischen Vokalpolyphonie. Olms, 2009.

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Deppert, Heinrich. Kadenz und Klausel in der Musik von J.S. Bach: Studien zu Harmonie und Tonart. H. Schneider, 1993.

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Schröder, Gesine. Cadenza und Concerto: Studien zu Igor Strawinskijs Instrumentalismus um 1920. Studio, 1996.

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León, Sebastián. "La palabra en la cadencia": La visión de la música desde la literatura (siglos XVI y XVII). Edition Reichenberger, 2020.

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Book chapters on the topic "Musical cadence"

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Rimas, Juozas, and Juozas Rimas Jr. "Something About Rhythm." In Etudes on the Philosophy of Music. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-63965-4_9.

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AbstractThe concept of rhythm is compared with bar, meter, cadence (G. Hegel, F. Couperin) and tempo (W. Landowska). Rhythmic organisation can be seen in ancient poetic composition. Melodic rhythm expresses the true accents of the music. Also, there is a demonstration of the energetic quality of musical movement illustrated by a recording of Rondino by Jean Sibelius (Op. 81, No. 2) for oboe and piano, with the author playing oboe.
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Kaliakatsos-Papakostas, Maximos, Asterios Zacharakis, Costas Tsougras, and Emilios Cambouropoulos. "Modelling Cadence Perception Via Musical Parameter Tuning to Perceptual Data." In IFIP Advances in Information and Communication Technology. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44944-9_49.

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Mazzola, Guerino. "Cadence." In The Topos of Music. Birkhäuser Basel, 2002. http://dx.doi.org/10.1007/978-3-0348-8141-8_26.

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Mazzola, Guerino. "Cadence." In The Topos of Music I: Theory. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64364-9_26.

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McCarthy, Daniel, and Ralph Turek. "Cadences." In Singing and Dictation for Today#x2019;s Musician. Routledge, 2020. http://dx.doi.org/10.4324/9780367814984-9.

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Turek, Ralph, and Daniel McCarthy. "Cadences/Harmonic Rhythm." In Theory for Today’s Musician. Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-8.

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Terefenko, Dariusz, and Benjamin Wadsworth. "The Cadenza." In Explorations in Music Theory. Routledge, 2024. http://dx.doi.org/10.4324/9781003042976-37.

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Boorman, Stanley. "False Relations and the Cadence." In Studies in the Printing, Publishing and Performance of Music in the 16th Century. Routledge, 2023. http://dx.doi.org/10.4324/9781003418733-10.

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Terefenko, Dariusz, and Benjamin Wadsworth. "Workbook—The Cadenza." In Workbook for Explorations in Music Theory. Routledge, 2024. http://dx.doi.org/10.4324/9781003517986-34.

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da Correa, Delia Sousa. "Introduction: ‘Concords and Discords, Cadences and Cries’." In George Eliot, Music and Victorian Culture. Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230598010_1.

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Conference papers on the topic "Musical cadence"

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Dabike, Gerardo Roa, Michael A. Akeroyd, Scott Bannister, et al. "The ICASSP SP Cadenza Challenge: Music Demixing/Remixing for Hearing Aids." In 2024 IEEE International Conference on Acoustics, Speech, and Signal Processing Workshops (ICASSPW). IEEE, 2024. http://dx.doi.org/10.1109/icasspw62465.2024.10626340.

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Shao, Keren, Ke Chen, and Shlomo Dubnov. "Music Enhancement with Deep Filters: A Technical Report for the ICASSP 2024 Cadenza Challenge." In 2024 IEEE International Conference on Acoustics, Speech, and Signal Processing Workshops (ICASSPW). IEEE, 2024. http://dx.doi.org/10.1109/icasspw62465.2024.10626759.

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Karystinaios, Emmanouil, Francesco Foscarin, and Gerhard Widmer. "Perception-Inspired Graph Convolution for Music Understanding Tasks." In Thirty-Third International Joint Conference on Artificial Intelligence {IJCAI-24}. International Joint Conferences on Artificial Intelligence Organization, 2024. http://dx.doi.org/10.24963/ijcai.2024/850.

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We propose a new graph convolutional block, called MusGConv, specifically designed for the efficient processing of musical score data and motivated by general perceptual principles. It focuses on two fundamental dimensions of music, pitch and rhythm, and considers both relative and absolute representations of these components. We evaluate our approach on four different musical understanding problems: monophonic voice separation, harmonic analysis, cadence detection, and composer identification which, in abstract terms, translate to different graph learning problems, namely, node classification
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Upitis, Rena, and Philip Abrami. "Cadenza: The Evolution of a Digital Music Education Tool." In 11th International Conference on Computer Supported Education. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0007704201610168.

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