This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 Excerpt: ...therefore, results from what may be termed a break or a convolution in the line which marks the shape. While cadential feeling may be ...Read MoreThis historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1912 Excerpt: ...therefore, results from what may be termed a break or a convolution in the line which marks the shape. While cadential feeling may be enforced or modified by harmony, the essential fact of cadence cannot be defined in terms of harmony. Indeed, this fact is appreciated by the harmonists themselves, who distinctly state, while defining cadence in terms of harmony, that "such progressions are cadences only when occurring at the divisions of a musical sentence" a nice example of reasoning in a circle. Besides it is a matter of common fact that in modern music any harmonic progressions may occur at a cadence; and one of the chief characteristics of the modern composer's method is that he takes care to avoid as much as possible the use of stereotyped harmonic progressions at the cadences. Obviously, then, if any harmony can be used at a cadence, the inherent cadential quality must be sought for, not in harmony, but in the essential principles of rhythm. To say that rhythm is a matter of arrangement of cadences--meaning cadence in a harmonic sense--is to define what is necessary in shape by what is accessory. While the phrase is a convenient standard in which to express and realise the shape and dimensions of the complete musical statement, it is from the point of view of performance neither an adequate nor a wholly satisfactory one. In the first place, the phrase is always divisible into smaller parts; and although in performance the unity of the phrase must be expressed, yet the individuality of these subordinate articulations is just as important, and it is only the realisation and expression of this individuality which gives the phrase its significance and meaning. To state the phrase as a phrase is not enough; it must be placed in true and natural ...Read Less
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