Cadential Melodies: Form-Functional Taxonomy and the Role of the Upper Voice

Abstract

Cadences—how they are understood, categorized, and function—have been central topics in the emergence of the “New Formenlehre” (Marston 2001), often revolving around, or building on, William Caplin’s (1998) theory of formal functions. While Caplin (1998) describes a cadence as an event that brings about closure by “essentially represent[ing] the structural end of broader harmonic, melodic, and phrase-structural processes,” defining what counts as a cadence is not always clear, with challenges often arising owing to the disproportionately weight accorded to harmony in assessing cadential situations.

This paper proposes that engaging more proportionately with structural melodic content can expand how we conceive of cadential function, and add nuance to the more harmonically-driven approaches of Caplinian theory. Vande Moortele (2013), for instance, notes that the melodic parameter of music is often “conspicuously absent from [Caplin’s form-functional theory].” In other words, melodic aspects of form have been less systematically codified than harmonic ones. Drawing on discussions by Schenker ([1935] 1979), Marx ([1868] 1997), and Schoenberg (1967) we posit parallels between structural melodic configurations and the temporal formal functions of Caplinian theory. Through several analytic examples we suggest that certain melodic directions have default association with Caplin’s temporal functions: ascending lines are typically associated with initiating functions, while static prolongations of tones serve either as initiating or medial functions. Conversely, descending melodic lines, especially to ^1 or ^2 (half cadences) are endemic of concluding functions. Ultimately, mapping these functions onto the melodic domain allows for greater nuance when discussing cadences and their effects.