Abstract

Distinguishing between half cadences, elided authentic cadences, and similar endpoints can be a surprisingly challenging task. Particular problems arise when more than one way of labeling a phrase ending (or possible phrase ending) is syntactically proper, and when the formal divisions in such instances are obscured by conflicting harmonic, textural, or rhythmic features; this is especially so when an ending (or potential ending) is demarcated by a dominant harmony. Recognizing the flexibility of cadential status in these cases in turn has implications for larger issues of form, voice-leading structure, and the interaction of analysis and performance.

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