IN MUSIC. — A clause is understood as the end of every period, or of every literary and musical division that is more or less terminal. The cursus is a system of characteristic literary clauses (v. CURSUS and CADENZA SALMODICA). Every clause or cadence is produced either according to a predetermined order or style, or in the free succession of thoughts and music. In the liturgical style there are many clauses at the endings and subdivisions of psalms, hymns, responsories, antiphons, alternating chants of the Mass, dialogues between ministers and people, etc.
The dimension or classification of clauses in free style or of logical and commutative succession may have a more or less extensive development. Clauses are usually divided into incises, members, phrases, and also periods. The logical resolution of the rhythmic, melodic, or harmonic development is the criterion for marking the limits of clauses. In simple rhythmic succession, the ending is indicated by a withdrawal from the initial center or impulse, so that the movement or succession of beats calls for rest. In melodic movement, and therefore also in rhythmic movement, the ending is indicated by the absence of attraction among the sounds, so that their melodic relationship comes to an end. In harmonic combinations, the clause is produced by the resolution of the concordant parts, so that the harmonic logic is interrupted in a more or less conclusive manner, after which a new proposition begins. In literary, rhythmic, and harmonic clauses alike, the total or definitive resolution (or resolution of the phrase) is prepared by the succession of various partial groupings arising from the development of the thought, from movement, or from consonance. Consequently, all preceding clauses are called closed or open, according as the sense of repose is more or less definitive. In harmonic singing, clauses have rules or methods of cadencing that differ greatly from those of simple singing, and especially from Gregorian chant. Gregorian clauses, because of the ancient modality, whether they close simple phrases or the final period, do not always end on those notes that moderns call tonics or fundamentals; in this respect they come closer to Hellenic modality.
For the metrical clausula, V. CURSUS.