from The American Heritage® Dictionary of the English Language, 4th Edition
- adj. Of or relating to a cadence.
- adj. Of or having to do with a cadenza.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- adj. Of or pertaining to cadence or a cadenza.
from The Century Dictionary and Cyclopedia
- Relating or pertaining to cadence, or a cadence.
Sorry, no etymologies found.
We're used to pieces ending with a predictable plugged-in cadential module; Poulenc plugs in a module, but it's not the predicted one, and our musical expectations are yanked in two directions at once.
It might seem like a stretch to say that Schumann intends to link these four songs (possibly along with another, "Mondnacht," which ends somewhat similarly) merely through this stock cadential figure.
(In addition, there's a strong literary echo of the seventh song, "Auf einer Burg," in the eighth, "In der Fremde.") "In der Fremde" brings the cadential figure back:
Olbermann does have a weird cadential thing going on throughout these 12-plus minutes ... but dammit, I'm glad he said it.
Ends of phrases were slightly ornamented, probably from quite early on, to provide satisfactory cadential suspensions; it is unlikely, at least in choral performance, that general ornamentation was introduced.
Now on the other hand, the English iambic tetrameter is a hesitating, loose, capricious form, always in danger of having its opening semeion chopped off, or of being diluted by a recurrent trimeter, or of developing a cadential lilt.
See, again, No. 22 of the Songs Without Words; the first and second phrases are small; the third phrase, however (reaching from measure 6 to 9 without cadential interruption), is of regular dimensions.
Distinct cadential interruption is carefully avoided after the original phrase has been announced, that is, throughout Ex. 43, -- which is the significant proof (borne out by the manifest identity of the _melodic_ members) that these measures form part and parcel of the original phrase, as extension or development of it, and _not_ a new phrase.
And it is therefore an almost invariable practice, especially in music of a higher order, to modify and disguise the cadences by some means or other; that is, to diminish the weight of the characteristic "longer tone," -- to counteract, partially or entirely, the impression of actual cadential cessation, by continuing (instead of interrupting) the rhythmic pulse.
As was advised in the context of Ex. 17, he must endeavor to define the phrase by recognition of its "beginning" and "ending," as such; or by exercising his judgment of the "cadential impression."
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