IN MUSIC
A **cadence** is considered the close of every phrase or of every literary and musical division that is more or less conclusive. The *cursus* is a system of characteristic literary cadences (v. CURSUS and CADENZA SALMODICA). Every cadence or close is produced by an order or style that is predetermined, or in the free succession of thoughts and music. In liturgical style there are many cadences at the ends and subdivisions of psalms, hymns, responsories, antiphons, the alternating chants of the Mass, dialogues between ministers and people, etc.
The extent or classification of cadences in free style or in logical and comma-like succession can vary greatly in size. Usually cadences are divided into incises, members, phrases, and even periods. The logical resolution of rhythmic, melodic, or harmonic development is the criterion for marking the limits of cadences. In simple rhythmic succession, the close is indicated by a departure from the central or initial impulse, so that the movement or succession of beats demands a rest. In melodic—and therefore also rhythmic—movement, the close is indicated by the lack of attraction among the notes, so that the melodic relationship among them ends. In harmonic combinations the cadence 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.
Whether in literary cadence or in rhythmic or harmonic cadence, the total or definitive resolution (or phrase close) is prepared by the succession of various partial groupings arising from the development of thought, movement, or consonance. Consequently, all preceding cadences are called closed or open, according to whether the sense of rest is more or less definitive. In harmonic singing the cadences have rules or manners of close that are very different from those in simple singing, and especially in Gregorian chant. Gregorian cadences, because of their ancient modality, whether they close simple phrases or the final period, do not always end on those notes that moderns call the tonic or fundamental; in this they more closely resemble Hellenic modality.
For the metrical *clausula*, V. CURSUS.