@Article{          caplin2004-classical,
    author       = {Caplin, William Earl},
    year         = {2004},
    title        = {The Classical Cadence: Conceptions and Misconceptions},
    abstract     = {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 this
                   arrival may be postcadential in function; cadential
                   content must be distinguished from cadential function;
                   cadence represents a formal end, not a rhythmic or
                   textural stop; and cadential strength can be distinguished
                   in its syntactical and rhetorical aspects. An analysis of
                   selected musical passages demonstrates that an accurate
                   identification of cadence has a major impact on the
                   interpretation of musical form and phrase structure.},
    doi          = {10.1525/jams.2004.57.1.51},
    issn         = {00030139},
    journal      = {Journal of the American Musicological Society},
    keywords     = {music theory},
    mendeley-tags= {music theory},
    number       = {1},
    pages        = {51--118},
    url          = {https://jams.ucpress.edu/content/57/1/51},
    volume       = {57}
}

{"_id":"gzPMkxtAssshoFJzX","bibbaseid":"caplin-theclassicalcadenceconceptionsandmisconceptions-2004","authorIDs":[],"author_short":["Caplin, W. E."],"bibdata":{"bibtype":"article","type":"article","author":[{"propositions":[],"lastnames":["Caplin"],"firstnames":["William","Earl"],"suffixes":[]}],"year":"2004","title":"The Classical Cadence: Conceptions and Misconceptions","abstract":"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 this arrival may be postcadential in function; cadential content must be distinguished from cadential function; cadence represents a formal end, not a rhythmic or textural stop; and cadential strength can be distinguished in its syntactical and rhetorical aspects. An analysis of selected musical passages demonstrates that an accurate identification of cadence has a major impact on the interpretation of musical form and phrase structure.","doi":"10.1525/jams.2004.57.1.51","issn":"00030139","journal":"Journal of the American Musicological Society","keywords":"music theory","mendeley-tags":"music theory","number":"1","pages":"51–118","url":"https://jams.ucpress.edu/content/57/1/51","volume":"57","bibtex":"@Article{ caplin2004-classical,\n author = {Caplin, William Earl},\n year = {2004},\n title = {The Classical Cadence: Conceptions and Misconceptions},\n abstract = {The article examines notions traditionally attached to\n the concept of cadence in general, retains those features\n finding genuine expression in \"the classical style\" (as\n defined by the instrumental works of Haydn, Mozart, and\n Beethoven), and investigates problematic ideas that have\n the potential of producing theoretical and analytical\n confusion. It is argued that cadence effects formal\n closure only at middle-ground levels of structure; a\n cadential progression is highly constrained in its\n harmonic content; cadential function precedes the moment\n of cadential arrival, whereas the music following this\n arrival may be postcadential in function; cadential\n content must be distinguished from cadential function;\n cadence represents a formal end, not a rhythmic or\n textural stop; and cadential strength can be distinguished\n in its syntactical and rhetorical aspects. An analysis of\n selected musical passages demonstrates that an accurate\n identification of cadence has a major impact on the\n interpretation of musical form and phrase structure.},\n doi = {10.1525/jams.2004.57.1.51},\n issn = {00030139},\n journal = {Journal of the American Musicological Society},\n keywords = {music theory},\n mendeley-tags= {music theory},\n number = {1},\n pages = {51--118},\n url = {https://jams.ucpress.edu/content/57/1/51},\n volume = {57}\n}\n\n","author_short":["Caplin, W. E."],"key":"caplin2004-classical","id":"caplin2004-classical","bibbaseid":"caplin-theclassicalcadenceconceptionsandmisconceptions-2004","role":"author","urls":{"Paper":"https://jams.ucpress.edu/content/57/1/51"},"keyword":["music theory"],"metadata":{"authorlinks":{}},"downloads":0},"bibtype":"article","biburl":"https://hmb.sampaio.me/bibliografia.bib.txt","creationDate":"2019-08-08T23:06:47.381Z","downloads":0,"keywords":["music theory"],"search_terms":["classical","cadence","conceptions","misconceptions","caplin"],"title":"The Classical Cadence: Conceptions and Misconceptions","year":2004,"dataSources":["n6MFY2CscQLDpJ7nT","RFLDZw5KyJdadDXDm"]}