BLAINVILLE'S NEW MODE, OR HOW THE PLAGAL CADENCE CAME TO BE ‘PLAGAL’
Caleb Mutch
ABSTRACT The plagal cadence has long been a significant concept within musical discourse, but that discourse contains no convincing explanation of why the progression should be characterized as ‘plagal’. This article elucidates meaning term ‘plagal cadence’ by examining its introduction into mid-eighteenth-century Parisian debate over nature what would come to called tonality instigated Charles-Henri de Blainville's proposal ‘mixed mode’, supplement major and minor modes. Owing properties his new mode's scale, which corresponds Phrygian mode, Blainville identified proper conclusion for pieces in mixed mode. Curiously, although work appears contain first published articulation term, he employs it if readers were already familiar with cadence’. explains oddity, finding misread earlier accounts plainchant saying modes interval descending fourth. In conclusion, consideration controversy regarding mode reveals those historical disagreements bear striking similarities current debates significance function theories harmony.
Eighteenth-century music