Cadential Structure

in the Mid-SixteenthCentury:
TheAnalytical
Meier
Approaches
ofBernhard
andKarolBerger
Compared1
Review-Article
byMichle Fromson

modernscholars,the analysisof vocal polyphonyfromthemid-to latesixteenth

and some mightsay insurcenturycontinuesto pose significant,
mountable,
challenges.Even in thecase of familiarcomposerswhose influ- forinstanceWillaert,Lassus, or Palestrina- relatively
ence is incontrovertible
littleis knownabout such important
tonalcohersubjectsas formalorganization,
of individualworks.All too often,modern
characteristics
ence,or theidiosyncratic
analysesrelyon generalstyledescriptionslike the following,altogethertypical
passage:
Willaert'
s musichas no easy appeal.Despiteitsmasterly
construction
andnotwithstanding
itsvirtuesof concisenessand elegance,itsrichnessin
harmonic
ofthetext,itsvariety
ofrhythmic
color,itsunexcelledadaptation
andmetricstructure,
it has a certainheaviness,hardto define,rootedperhapsintheabsenceofa truemelodicinspiration.2
One reasonwhyso muchof thismusicstilleludesouranalyticgraspis undoubtedwhich we finddifficult
to segmentintocomponent
ly its seamless counterpoint,
and
In
sections.
this
where
and texturalarticulaphrases
repertory,
strongrhythmic
tions are largely avoided, segmentationderives primarilyfrompolyphonic
formodernscholarsto identify
in a consiscadences,and theyhaveprovendifficult
tentand historicallyappropriatemanner.In the past, familiarbut admittedly
anachronistic
tonalterminology
was used forthispurposesince sixteenth-century
cadences closely resemblethe authentic,phrygian,or piagai formationsof later
centuries.
Morerecently,
therehave been concertedefforts
to use terminology
from
thesixteenth-century
but
this
also
has
certain
drawbacks.3
itself,
approach
Perhaps
mostseriousis thatRenaissancemusiciansrarelydefinedcadences withthespecificityor consistencyto enable us to locate and classifyeveryarticulationthat
appearsto function
cadentially.
179

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180

Theoryand Practice

Vol.XVI

Recently,two books have been publishedthatexamineRenaissancecadential

anew: Ellen Beebe's Englishtranslation
of BernhardMeier's seminalwork
structure
der klassischenVokalpolyphonie;
Die Tonarten
and Karol Berger'smonograph
Musica
in vocal polyphony
fromMarchettoda Padova
ficta: Theoriesofaccidentalinflections
to Gioseffo Zarlino.4 The appearance of works with detailed explications of
to surveywhatis currently
Renaissancecadencesthusprovidesa special opportunity
knownaboutthischallengingsubject.The purposeof thisreviewwill be twofold:to
and to determine
explainhow each of theseauthorsdefinedhis cadentialformations,
are foranalyzingsome of themostcontinuouspolyphony
how usefultheirdefinitions
the motetsin Willaert'swell-knowncollectionMusica
of themid-sixteenth
century,
nova (1559).5
At theoutsetof thisreview,it mustbe acknowledgedthatneitherMeier nor
Bergerconductsa comprehensive
studyof Renaissancecadences.Rather,as so often
in
about
music,both authorsdeal with
happens analyticwriting
sixteenth-century
in orderto addressthemainsubjectsof theirbooks: in Meier's case
cadentialstructure
modal planning,whichderivesin greatpartfromthe scalar degreesof cadences as
themselvesattested;and in Berger'scase theproperuse of musiRenaissancetheorists
ca ficta,whichwas routinely
appliedat cadences.

PerfectCadences
Both authorsbeginby definingtheperfectcadence as mostsixteenth-century
motionfroma
theorists
did,as threedyadswhosevoices proceedby conjunctcontrary
thisconsixthto an octaveor froma thirdto a unison.6Meierand Bergersupplement
definition
by adding
trapuntai
Example1: PerfectCadences
two furthercharacteristicsthey
find typical of most perfect
cadences: a relativelycomplete
unitof textusuallyconsyntactic
cludes on the thirddyad, and in
a suspension
floridcounterpoint,
the
first
and secnormallyspans
ond dyads.7 Based on this
expanded definition,a perfect
cadence existsin theuppervoic-

motionfroma A/F(f)
es at theend of Example2 because they(1) proceedby contrary
sixthto a G octave,(2) forma 7-6 suspensionacrossthefirstand seconddyads,and (3)
me" [I will notfearthe
concludethesentence"non timebomiliapopuli circumdantis
and
later
this
thousandsofpeoplesurrounding
me].8(In
examples,a horizontalbracket
cadential
marksthethreecadentialdyadsand diagonalbeams designatethestructural
voices.)
of a relaAlthoughbothauthorsassociateperfectcadenceswiththetermination
the
two
to
be
coordinated.
unit
of
neither
events
text,
requires
tivelycompletesyntactic
As Meierputit,". . . thecomposermusttakecare thatcadences,theirlocation,and the
forceof theirarticulating
effectconformas closely as possibleto thecaesurasin the
text."9
Accordingto Berger,thecadence". . . is analogousto a punctuation
signmarking

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181

CadentialStructure
16th-Century

Fromson

10
Example2: Willaert,"Dominequid multiplicadsunt,"mm. 120-22
po-

pu- li

cr.j) i j
a r

hi

me,
- danI

r
cir-

tis
.

cir-

i i i
P f

cum-

tis

cum- dan-

'frJr^
f

danme:
o.

me:

tis

me:
-.

Ih > ' Jitf

I r r r ^^
XT-, r

cir-

J Jy-

cum-

dan-

tis

me:

and
of a verbaltextintosuchunitsas clauses,sentencesandparagraphs,
thearticulation
The reasonwhyneither
of the text."11
it mayreflect[myemphasis]such articulation
authorrequirestextualclosurein everyperfectcadence is thatin sixteenth-century
betweentextand cadencecan vary.Whileperfectcadencesusumusictherelationship
end
of
a
self-sufficient
mark
the
comparatively
syntacticunitin at leastone active
ally
In Example3,
voices themselves.
voice,textualclosureneednotoccurin thestructural
forinstance,textualclosureoccurs only in the non-cadentialalto voice, whichconcludestheclause "quoniamDominussuscepitme" [fortheLord sustainsme].
betweencadentialand textualclosureremainsa fluid
Indeed,the relationship
and subtleone formostof thesixteenth
Cadences can be articulated,
century.
normally
withtheassistanceof a pre-cadential
suspension,withoutmelodicor textualclosureon
thethirddyad (as in theuppervoices of Example 26, p. 201), and phrasesof textcan
terminated
withoutformalcadences,as in Example4, whereclosureis
be convincingly
achieved (underthe horizontalbracket)when threeof the fouractivevoices arrive
on thelastsyllableof 'cognoviMUS'.12
simultaneously
Meier and Bergeralso associate perfectcadences withsuspensionslike those
in Example 5 (see p. 183).13The syncopateddissonancemayoccupyeither
illustrated
cadentialvoice; however,once the conventionalpreparation,suspension,and downwardresolutionhave been completed,thesyncopatedvoice shouldreturn
by conjunct
motionto thepitchused forthepreparation.
Accordingto Berger'susefulterminology,
thesyncopatedcadentialvoice will normallymove 1-7-1(or 8-7-8)and thenon-syncopatedvoice will descendbystepto thecadentialpitch(1-2-1,3-2-1,or 4-2-1).14
While it is truethatperfectcadences usually employ suspensionformulaein
mid-sixteenth-century
polyphony,the relationshipbetween these two articulative
eventsis morecomplicatedthanmightat firstbe suspected.Not onlyare suspensions
absentin homorhythmic
passages like thatshownin Example 6 (see p. 183), whose
tenorand bass voices forma perfectcadence on D, buttheyare sometimesomittedin
diminishedcounterpoint,
wheretheycould easily have been introduced
(Example 7).
Here,thetenorand bass voicesseemto forma perfectcadence byproceedingfromthe

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Vol.XVI

Theoryand Practice

184

Bt>/Gsixthto an A octave,an analysissupportedby the textualclosurein the bass,

which completesthe dependentclause "quoniam tu percussistiomnes adversantes
all thoseopposingme]. Indeed,theonlyanomalousfeamihi"[sinceyou have smitten
for
tureof thiscadence is theconsonantF in thetenorpart,whichseemsto substitute
thesyncopateddissonanceof a conventional
suspension.But ifExample7 is a perfect
cadence,thenExample 8 oughtto be one as well since its lowervoices also proceed
froma Bk/Gsixthto an A octave and textualclosure occurs in the bass.19In this
cantusvoice. Is thisa perinstance,however,thesyncopatedF is in thenon-cadential
fectcadence?
roleof theprequestionsaboutthearticulative
Examples7 and 8 raiseimportant
For in a
resolved.
than
that
are
more
cadentialsuspension,20
easily posed
questions
consoseamlesspolyphonicidiomlike Willaert's,withits relativelyuniform
timbres,
the
accentmelodic
smooth
and
nantharmonies,
lines,
motion,
homogeneousrhythmic
thatis equivalentto, if not
ed dissonancein a suspensioncan createan articulation
Example8: Willaert,"Domine,quid multiplicadsunt,"mm.25-2822
Non

est

sa-

e rii-:~l,_j.y
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(-ti)

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cunt

'i
eljt
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sa-

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non

than,thataccomplishedbythevoice-leadingof thecadenceitself.21
stronger
of a perfect
a suspensionis employedor not,thestrength
Regardlessof whether
which
can
and
metric
cadencealso derivesfromitslength
varyconsiderably
position,
its possiblerhythmic
as Meier and Bergermakeclear.To demonstrate
configurations,
bothauthorscitethefollowingmusicalexamplesfromthetreatisesofNicola Vicentino
and Orazio Tigrini,whichillustratecadences of threedifferent
lengths:the cadenza
the
a
breve
are
whose
sonorities
cadenza
minore,whose individual
maxima,
long;
a minim(see Example9).23
is
where
each
and
are
a
sonorities semibreve; cadenzaminima,
mensuration
treatise
neither
because
signsto indicateprecisely
provides
Unfortunately,
on
thesedeterminations
make
must
and
Meier
can
be
whereeach cadence
used,
Berger
are
when
that
out
basis.
a rpertoriai
pre-cadential suspensions
Berger points
will span thefirsttwocadentialdyads.24He also
employed,thedissonantsyncopation
statesthatcadencesnormallyend on a comparatively
strongmensuralunit,whichhe
If such criteriashould prove
minim.25
or
identifiesas a breve,semibreve, possibly
is
a
a
whether
to determine
insufficient
progression perfectcadence,bothauthorsprofromothercadencesin thesame
be
deduced
contextually,
length
pose tidta normative
and
time
or
from
a
similar
wovk,bythesamecomposer,
place.26

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Fromson

CadentialStructure
16th-Century

185

Example9: Tigrini'sCadences27

CadenzeMaggiori

i i I hM

i i I I hhI

iilll

i i 1 I I hh h

CadenzeMinori

ill
Ir)

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ill

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||

CadenzeMinime

Thoughthisad hoc approachmayin theend proveunavoidablegiventhepaucity

on cadentialrhythm,
of contemporaneous
it maynot indicatewhethercertain
writings
are in factcadential(see Examples 10 and 11). Accordingto intervallic
progressions
criteria-the
syncopationin the cantus,and the textualclosure in the bass-the lower
voices of Example 10 shouldcomprisea perfectcadenceon Bk28The weaknessof this
is thatthe second dyad,theC/A sixth,is onlyan eighth-note
in length,
interpretation
issues loom largerin Example 11,
perhapstoo shortfora propercadence.29Rhythmic
whichon purelyintervalliccriteriaappearsto containsix perfectcadences, in seven
briefmeasures(on F, D, C, Bt>,G, and D!).30 Can such an analysisbe correct?(The
cadenceson D and G seem especiallysuspectbecause theirseconddyads are exceedinglyshort.)In truth,some of these cadences are more emphaticthan others(for
instancetheC cadencein m. 430) buton whattheoretical
groundsshouldsuchdistinctionsbe based: the lengthor metricplacementof individualcadentialsonorities,the
inclusionof a dissonant(or perhapsconsonant)syncopation,
or theamountof textual
closureon thethirddyad?
One way to addressthesequestionsmightbe to establishmorespecificrhythmic
criteriaforperfectcadences, perhapsby creatingtwo distinctcategories.31
The first
could includeanyprogressionwhose two voices meetthecontrapuntal
and harmonic
criteriaof a homorhythmic
perfectcadence; thesecondcould be reservedforcadences
- forinstancea suspensionformula,textural
withadditionalemphaticcharacteristics
or
durationalemphasis,or simultaneoustextualclosurein multiplevoices. In analysesof
individualcompositions,
thesecondtypecouldbe weightedmoreheavilythanthefirst.

OtherPerfectCadences
Bergerand Meier also defineseveralspecial formsof perfectcadence. Meier
focuseson the clausula in mi [the phrygiancadence], in whichthe lower cadential
voice descends by half-stepwhile the uppervoice ascends a whole step (Example
because of itsunusualhar12),32whichhe establishesas a distinctcadentialformation
monization.When constructed
in threeor morevoices, theclosingdyad is normally
witha fifth
ratherthantheoctaveor unisonseen in ! esularperfectcadences
supported

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Fromson

CadentialStructure
lth-Century

189

(see Example 13; also Example 3 above). Meier would label thisan E cadence even
thoughtherootof itsfinaltriadis A.33
Berger,on the otherhand,treatsmi-cadencesas regularperfectcadences but
the improperperfectcadence, and the relaxed
definestwo otherspecial formations:
perfectcadence. In the impropercadence, the ascendingvoice moves 6-7-8 and the
in Example 14.38(Normally,theascending
descendingvoice moves2-1, as illustrated
voice moves 1-7-1and thedescendingvoice 2-1.) The peculiaritiesof the improper
now thesyncopated
perfectcadencebecomeapparentonlyin diminishedcounterpoint:
voice beginsand endson different
instead
of
the
pitches
following usual pattern1-7-1.
This means thatdiminishedimproperperfectcadences lack melodicclosure in their
syncopatedvoice.
Bergeralso defineswhathe calls therelaxedperfectcadence.Accordingto his
froman imperreadingof Medievaland Renaissancetreatises,two-voice progressions
fectto a perfectconsonancecan employeitherstrictor relaxedvoice-leadingprocedures.In theformer,
bothvoices moveconjunctly;in thelatter,
theuppervoice ascends
while
the
lower
voice
can
ascend
a
fourth
or descend a perfect
conjunctly
perfect
fifth.39
Since cadencesalso proceedfromimperfect
to perfectconsonances,he reasons,
theycan employeitherstrictor relaxedvoice-leading.A strictperfectcadence is sim8); a relaxed
plywhatI havecalled a perfectcadence thusfar(see Examples1 through
in thesextusand bass partsofExample 15.40
perfectcadenceis illustrated
Relaxedcadencesareverycommonin mid-sixteenth
century
polyphony,
making
Berger's formulationexceedingly useful. Neverthelessthe distinctionhe makes
betweenstrictand relaxedformations
is not as sharpas one mightat firstsuppose,as
will be discussedbelow.

PerfectCadencesforThreeorMore Voices
One of themostcontroversial
theoreticalissues in theanalysisof Renaissance
music has been whethertwo-voicecadentialformationsshould be applied to polyphonywiththreeor morevoices.41Perhapsit is not surprising,
giventhecontroversy
thisquestionhas engendered,
thatBergerand Meier answerit differently.
Based on a
summaryof ideas fromnumeroustreatises,Bergerconcludesthatcadences wereconceivedas two-voicestructures
theRenaissance,evenin polyphony
throughout
employmore
than
two
voices:
"...
Zarlino
ing
givesexamplesof cadencesin writingformore
thantwo partsand, again, all the voice-pairswhichend the cadence on the octave
behave accordingto the preceptsgiven [fortwo-voice cadences]."42The decision to
has important
analyzeall Renaissancecadencesas two-voiceconstructions
advantages
because it providesa singletheoreticalframework
forall polyphoniccadences and at
the same timeconformsto contemporaneoustheoreticalsources.Its disadvantages,
however,becomeevidentin passages like Example 16, wheretwotwo-voice cadences
seem to occursimultaneously;
thecantusformsa strictperfectcadence withthetenor
but a relaxedcadence withthe bass. Should one of thesecadences (most likelythe
strictone) be giventheoretical
or mightthisbe a newthree-voice
formation?
priority,
In orderto analyzesuch progressions,
whichare all too commonin Willaert's
Meier establishesthe three-voiceclausula perfecta,whose uppervoices
polyphony,
forma strictperfectcadence while the lowest voice ascends a perfectfourthor
descendsa perfect
as in Berger'srelaxedperfectcadence.43The clausula perfecta
fifth,

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Fromson

CadentialStructure
lth-Century

191

like Example 16 butis less usefulforExample 15, whose

workswell forprogressions
in a
uppervoices lack a 2-1 descent.Meierrecognizedthisproblemand recommended,
laterchapterand on an ad hoc basis, thatsuchpassages be analyzedas clausleteperfectae in whichthe expected2-1 descenthas been replacedwitha 2-3 ascent.46Put
Meieris proposingthatthetenor,sextus,and bass voices of Example
moreconcretely,
fromE to F
15 be analyzed as a clausula perfectawhose tenorascends irregularly
ratherthandescendingto D. (The expectedcadenceis givenin Example 15a.)
While Meier's clausula perfecta can accommodate numerous three-and
similarprogressions
likeExample 17,
fourvoice cadences,itexcludesotherextremely
wheretheG-C leap thatshouldoccupythebass voice now spans two separateparts,
which Bergerwould likelyprefer,
the vagans and bass. An alternateinterpretation,
wouldview thecantusand tenorpartsas a strictperfectcadenceon C. Whichof these
is therea meaningful
difference
is correctand, moresignificantly,
two interpretations
In
the
and
harmonic
features
shared
them?
between
fact, contrapuntal
by Examples 15,
fromdominantto
16, and 17 are moreeasilydescribedin tonalterms,as progressions
the centralquestionremainsas to how such progressions
tonictriads;nevertheless,
wereunderstoodin thesixteenth
century.

's Evaded Cadences

Berger
The formationthathas spawned the most diverse moderndefinitionsis the
cadenza sfuggita,or evaded cadence.47Berger's definitionis clear and restrictive:
and penultimate
harmoniesbehavereg". . . in an evadedcadence,theantepenultimate
is
because
and
the
final
one
of
the
voices or bothgo in
ularly
only
harmony irregular
E
in Example 18
a
cadence
on
is
evaded
direction."48
Accordingly, perfect
unexpected
whenthealto ascendsto G. (The verticalarrowsbeneatheach exampleindicatewhere
theevasiontakesplace.) In Example 19 a perfectcadence on G becomesevadedwhen
thealtodescendsto D and thetenorsustainsitsA.
of the evaded cadence has two advantagesbecause it
Berger'sstrictdefinition
to
and locatestheevasionin thestructural
makestheconstruction
voices
easy identify
his
themselves;nevertheless, approachhas certaindrawbacks.On the one hand, it
excludescadenceswhoseclosureis undermined
by thecontrapuntal
activityof a noncadential voice (Example 20). As bracketedbelow the example, the strictperfect
cadence on A beingformedby thealto and bass voices has been destabilizedby the
suspendedD in the non-cadentialcantusvoice. (This syncopateddissonancesubsequentlyfunctionsas thepre-cadential
suspensionforthe strictperfectcadence on D
bracketedabove theexample.)Accordingto Berger'sterminology,
thispassage is not
an evasionbutinsteada sequenceof twostrictperfectcadenceson A and D.
Otherdifficulties
arise in attempting
to differentiate
betweena non-cadential
for
suspensionand an evaded cadence whose syncopatedvoice moves irregularly,
instanceby descendingafterits resolution[1-7-5] ratherthanreturning
to the pitch
used forthepreparation
[1-7-1].More specifically,
Bergerdoes notprovidesufficient
criteriafor determiningwhetherthe innervoices of Example 19 evade a perfect
cadenceon G or whetherthealto is simplya non-cadentialsuspension.The difference
is notinconsequential
sincethefirstinterpretation
yieldsa cadencewhereasthesecond
does not.
Additionalambiguitystemsfromquestionsabout whetherrelaxedor improper

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194

Theoryand Practice

Vol.XVI

cadencescan be evaded,as seemsto occurin Example21. If thebracketedproperfect

gressionis an evasionof therelaxedperfectcadenceon G shownin Example21a, then
theevasiontakesplace because thelowestvoice descendsconjunctlyto C insteadof
leapingto G. Alternatively,
Example 21 mightbe an evasionof the improperperfect
cadenceon E shownin Example21b, in whichcase theevasiontakesplace whenthe
altoascendsto G and thetenordescendsto C. The firstinterpretation
seemsmoreplausible sinceitwouldlocatetheconventional1-7-1formulain thesyncopatedalto voice,
butBergeroffers
us no theoretical
basis forpreferring
thisanalysis.
Norare thesetheonlytheoretical
issuesto arisein Example21. For ifan evaded
cadenceexistshere,does it have a scalar degreeand on whatbasis shouldthatdegree
be determined?
Variousanswersare possible dependingon how the passage is analyzed.Its scalardegreemightbe one of theexpecteddegrees(G or E) or one of the
notesthatactuallysoundsin theclosingdyad- G or C. Anotherpossibility,
of course,
is thatsuch evasionshave no scalar degreeat all.53Moreover,if the scalar degreeis
unclear,thennew questionsarise about how musicaficta shouldbe applied. Berger
proposesthatin evadedcadences,". . . theleadingtone[shouldbe] inflectedif thisis
necessaryto producea semitoneprogressionto thefinalin thecorresponding
regular
cadence"; howeverin situationslike Example 21, ficta will be applied differently
If thealto and tenorvoices evade a relaxed
dependingon whichanalysisis selected.54
perfectcadenceon G, thentheF in thealto voice oughtto be raisedto F#(Example
21a); on theotherhand,ifthesevoices are evadingan improper
perfectcadence on E,
thentheF shouldbe performed
as notated(Example21b).
In fact,ficta can be difficultto apply even in evaded cadences whose scalar
degreecan be determined(Example 22). There the cantus,sextus,and bass move
towarda clausulaperfectaon D; however,thatcadenceis evadedwhenthecantusfails
1-7-1suspensionformula[D-Ct-D] and ascendsa perfect
to completetheconventional
fourth
to F. Even thoughtheexpectedscalardegreeis clearlyD, fictacannotbe applied
to anyof thecadentialvoices. The C in thecantuscannotbe sharpedsince doing so
Nor can theE in thesextusbe lowwouldcreatethedisallowedlinearintervalCf/F.55
A in thebass. The
eredfordoingso wouldcreatea verticaltritonewiththesupporting
is to perform
thecadenceas notated,without
ficta.
onlysolution,therefore,

Meier'sEvadedCadences
Unlike Berger,Meier advocates a more flexible view of evaded cadences,
themas cadenzae semiperfectae
(Berger'sstrictperfectcadences) or cadendescribing
discussedabove) whoseconclusiveeffecthas
zae perfectae(Meier's 3-voiceformation
he just illusbeen in some way diminished.Ratherthanproposea formaldefinition,
The firstis to silenceone or severalvoices on the
tratesfourcommonconstructions.56
as illustrated
by Example23, wheretheclausulaperfectaon
closingcadentialsonority,
C thatbeginsunderthebracketin thealto,tenorand bass voices becomesevaded on
the thirdsonoritywhen boththe alto and bass fall silent.57In Meier's second type
(Example24) a new pointof imitationis begunduringthesecond sonorityof a twovoice strictperfectcadence or a three-voiceclausula perfecta.Here, ". . . the 'head
clausulas
motive'of thisnewly-entering
voice correspondsto one of thestereotypical
cadentialvoices],butafterthecadence it is perceivedas thebeginningof a
[structural
new phraseof textand melody."58
In Example 24 themi-cadenceon A in thecantus

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Fromson

CadentialStructure
16th-Century

199

and tenorpartsis evaded when thebass introduceson the second cadentialdyad the
newphraseof text"quia peccavimustibi"[forwe have sinnedagainstyou].
In Meier'sthirdtypeof evasion,". . . thebass, whichhas been restinguntilnow,
enterswitha consonanceotherthantheunisonor octavebelow thelastnoteof a 'semiperfect'[i.e. strictperfect]cadence begun in two or threevoices" (Example 25).63
Underthebracketthestrictperfectcadenceon A thatis beingformedin thecantusand
quintuspartsbecomesevaded on itsthirdsonoritywhenthebass enterson F withthe
newtext"et persecutivos" [when(menwillhave) persecutedyou].
Meier's fourthcategoryincludesanystrictperfectcadence or clausula perfecta
in a structural
wherean unexpectedpitchor restis introduced
voice on thethirdsonoriall
of
evaded
cadences
as well as evasionsof
This
Berger's
categoryencompasses
ty.64
In
own
the
clausula
Meier's
clausulaperfecta. Example26,
perfectaon C thatis being
the
and
bass
becomes
evaded
whenthebass movesto A
formedby
cantus,alto,
parts
insteadof theexpectedC.
Meier's conceptionof evaded cadences includesvariousunusualconstructions
to classify.It is especiallyhelpfulforanalyzingpasthatmightotherwisebe difficult
sages like Example20, whichBerger'sapproachdoes notaccommodatesatisfactorily;
thisis an evaded mi-cadenceon A followedby an
accordingto Meier's terminology,
evaded clausula perfectaon D. However,towardtheend of his otherwiseadmirable
explicationof evadedcadences,however,Meier advancesthequestionablenotionthat
theirmodal statusbe consideredequivalentto thatof a strictperfectcadence or a
clausulaperfecta:
In spiteof theunexpected
endingsof [evaded]and similarcadences,theystill
revealstereotyped
"normal"in theirmusical-syntactic
function.
procedures,
a "cadenzafuggita"
thesametaskwithrespectto the
Consequently,
mayfulfill
modeas a cadencethatnotonlybegan,butalso ended,as thelistenerexpected.65
No doubt this claim stems fromhis inclusiveconceptionof the formation,which
thatshouldnot be ignoredwhendetermining
the
encompassesemphaticarticulations
mode of a polyphoniccomposition;nonetheless,
theunfortunate
consequencesof this
becomeapparentin theanalysesthattakeup thesecondpartof his book.66
proposition
A comprehensive
examinationof thesenumerousanalysesis beyondthescope of the
presentreview,buta generalidea of theseriousproblemsthatsometimesarisecan be
wherethesyncopatedvoice does not
conveyed.Theyare mostapparentin progressions
returnto pitchused for the preparation[1-7-1] but instead moves irregularly,
for
instanceby descendingafteritsresolutionto scale degree5 [1-7-5].To takea specific
instance,in Example 19 Meier is proposingthattheG thatis impliedbutneversounds
in the alto and tenorpartsbe grantedthe same modal significanceas the G in the
clausulaperfectain Example 16,whosethreestructural
voices articulatethispitch.
of thiskindcould be minimized,if notcompletelyeliminAnalyticdifficulties
ated,in at leasttwoways.Meier's generalconceptionof an evasioncould be expanded
to includemorespecificcriteriafordetermining
the articulative
weightand/orscalar
degree of individualcadences. (For example,evaded cadences could be granteda
scalardegreeonlyiftheirsyncopatedvoice moves 1-7-1.)Alternatively,
a morerestrictivedefinition
of evaded cadences could be formulated,
perhapsone more similarto
Berger's.

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202

Theoryand Practice

Vol.XVI

Final Cadences
andMeierdiscusstwoformations
thatusuallyappearattheendofa secBerger
- theinterrupted
tion,part,orwork
cadence,andthesupplementum.
Bergerfocuseson
theinterrupted
twodyadsof an otherwise
cadence,whichhe definesas comprising
normal
cadence.In an interruption,
thefirst
twonotesoftheconvenhowever,
perfect
tionalmelodicformula
must
the
first
and
second
[1-7]
dyads,andthesecond
occupy
should
on
"...
metrical
the
a
at
ofa mensuration
dyad
begin
strong
position
beginning
unit."69
Basedonthisdescription,
an interruption
ofa relaxed
cadence
onF will
perfect
be foundinthealtoandbasspartsofExample27.
cadenceshaveseveralunusualcharacteristics.
One is theirrhythmic
Interrupted
is
in
relaxed
cadence
(Theexpected
variability
perfect
given Example28a). Thisinterin
the
bass
a
full
sextus
and
twelve
beatsrather
thanthesixin
voices,spans
ruption,
theprevious,
moretypical
also
cadences
can
elicit
andat
example.
Interrupted
multiple
timesconflicting
as ending
analyses(Example29). Thispassagecouldbe interpreted
withaninterrupted
andbassvoices(indicated
relaxedperfect
cadenceonC inthetenor
bytheconverging
diagonallinesaboveBracketC) or witha homorhythmic
perfect
cadenceonD (marked
B). Whichinterpretabydiverging
diagonallinesbelowBracket
tionis correctand moreimportantly,
on whatscalardegreedoes thissectionof
is compounded
Willaert's
motetclose- D or G? Thisambiguity
bythefactthatthe
onG inthealto,vagans,and
mostemphatic
articulation
is surely
theclausulaperfecta
bassparts(under
Bracket
A).
wouldprobablybe preferred
This last interpretation
by Meier,who would
on G [Bracket
describeExample29 as a clausulaperfecta
A] followedby whathe
thefinal
wouldcalla supplementum,
thatis "... a short
phrasefollowing
supplemental
In musicofthesixteenth
a suppleworkorofa pars'"10
cadenceoftheentire
century,
mentum
ourmodern
thisis notalwaysthe
though
piagaiextension,
usuallyresembles
themiddlepars of his "Mittetad Virginem,"
case (Example30). Whenconcluding
scalardegrees
cadencesonthree
different
Willaert
a seriesofthreeperfect
constructed
thatsustains
theBb triadandlater
(G, D, andBl?),followed
bya briefsupplementum
ofthissort,whichareall toocommon
ambiguous
endings
dropsofftoF. Harmonically
the
invariousways;atissuehereis whether
inWillaert's
canbe interpreted
polyphony,
withtonal
whoseexperience
analysts,
endingfallson G, D, Bt, or F.71Formodern
unitswillconcludewithan emphatic
musicgenerates
thatlargeformal
expectations
likethisaresurprising,
inconclusive
cadenceon a conventional
scalardegree,
endings
ofthemid-sixteenth
nodoubtmoreso thantheywereformusicians
century.
*

thatBergerand Meierhaveproposedforsixteenth-century
The definitions
thatcurrently
andextensive
cadencesarebyfarthemostrigorous
exist;nonetheless,
in Willaert's
that
function
the
do
not
account
for
all
cadentially
they
progressions
variable
cadenstems
from
this
Musicanova.Theessential
highly
composer's
problem
contonearlyimperceptible
tialformations,
whichrangefromemphatic
terminations
lines.
The
articulations
within
individual
melodic
challenges
posed
analytic
trapuntal
ofthemid-tolate-sixteenth
bysuchcadencesdidnotgo unnoticed
byItaliantheorists

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Fromson

CadentialStructure
16th-Century

207

century,
manyof whomspentseveralchaptersof theirtreatisesexplainingand illutrattheirexplanationshave notyetyieldeda sysformations.76
Unfortunately,
ingdifferent
modernanalyticmethod.
tematicand comprehensive
likeWillaert'swouldbe
One way to accommodatevariablecadentialformations
to adopta moreflexibletheoretical
does,and allow that:
stance,as Bergereventually
betweencadentialandnon-cadential
... theborderline
imperfect-to-perfect
proA progression
blurred.
be
mayexhibitsome,butnot
gressionsmay somewhat
arecerofa cadence.Whilesomeprogressions
features
all,ofthecharacteristic
tainlycadencesand otherscertainlynot,thereis a grayarea in betweenin
or editor)as to
whicha decisionhas to be made(by thecomposer,performers
shouldbe treated
as a cadence.77
a givenprogression
whether
of each cadentialformation.
At
An alternative
approachis to clarifyour definitions
remainpoorlyundercadentialstructure
present,manyaspects of sixteenth-century
betweencadentialand texissuesas therelationship
stood,includingsuchfundamental
and use of pre-cadential
tualclosure,theproperconstruction
suspensionformulae,the
numberof structural
voices,and thedurationof thecadence.Less pressingbutstillsigformations
like therelaxedor theimproper
nificantquestionsarise in irregular
perfect
cadence and in clausulae perfectaethatlack theconventional2-1 descent.78Evaded
how their
cadences raise otherchallengingissues. The mostpressingis determining
forestablishingthemode of a polya prerequisite
scale degreeshouldbe identified,
phonicwork.
There are variousways to learnmoreabout sixteenth-century
cadentialstructure.One is to conductmorerigorousexaminationsof individualtreatises.(To date,
scholarshave tendedto conflateideas fromdiverseand oftenunrelatedtheoretical
traand musicalexamplesmustbe studied,includingthose
ditions.)All of thedefinitions
to cadentialstructure
(for instance,generalrules of
pertainingdirectlyor indirectly
and dissonanceusage). Each of thecadentialformations
definedor illuscounterpoint
tratedin a specifictreatiseshouldalso be testedon polyphoniccompositionsfroma
similartimeand place.79
A second approachis to studycadentialstructure
fromthe perspectiveof the
text.Modernanalystshave long recognizedthattheprimaryfunctionof Renaissance
cadenceswas to articulate
thetext,yettheinterrelationship
of thesetwoeventshas not
in depth.80
been investigated
This investigation
shouldbeginby examiningthe grammaticalstructure
of each textand onlyafterward
determine
how thatstructure
has been
articulatedby cadences. (Typically,modernscholarshave proceededthe otherway
around.) Indeed, startingwiththe textmightmake it possible to evaluate one of
Meier's mostprovocativehypotheses,
that". . . textuallystrongercaesuras therefore
the
use
of
cadences
with
a
weakerpausrequire
highermodalrank,whilefortextually
es cadencesof a weakerrankmodallycan also suffice."81
Meier
neither
Unfortunately,
nor
this
but
instead
demonstrates
that
vocal
works
freproves
disproves
hypothesis
cadence
on
modal
A
careful
examination
of
the
quently
important
degrees.
relationship
betweentextand cadence mightalso yield new information
about sixteenth-century
formal structure,which was also designed to project individual texts. Once
Renaissancecadentialstructure
is morecompletelyunderstood,
it shouldbecomepossible to investigate
one of themostinteresting
issues arisingin thisreview:thecurious
relationshipbetweenthe cadence and the pre-cadentialsuspension,a phemonenon

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208

Theoryand Practice

Vol.XVI

whosehistoryhas yetto be charted.Meierand Berger'sresearchsuggeststhattheorists

like StephanoVanneo,PietroAron,Zarlino,and Nicola Vicentinostrongly
preferred
changestakingplace in
suspendedcadences,verylikelyrespondingto fundamental
EarliercomposerslikeJosquinsegmentedtheir
stylearoundmid-century.
contrapuntal
timbres,markedrhythmic
slowdowns,
polyphonyby exploitingsharplycontrasting
as well as cadencesthatwere stronglyreinforced
withcoincident
syntacticimitation,
melodicand textualclosure.By the 1540s,whenthickerand morecontinuoustextures
suswas largelyeschewed,thepre-cadential
had becomethenormand strictimitation
than
a
to
have
served
an
essential
articulative
rather
decorafunction,
pensionappears
withoutdistiveone, by helpingcomposerssegmentand articulatetheircounterpoint
flow.
cadences
on
thepartof
its
seamless
The
use
of
suspended
rupting
widespread
in
like
Willaert
must
also
be
to
the
fundamental
related
changes rhythmic,
composers
harmonic,and melodic language thatwere takingplace.82Perhaps,once more is
new and
acrossthesixteenth
knownabouttheevolutionof cadentialstructure
century,
morepowerfultools will be developedforreexamininga subjectthathas perplexed
ofourinfluential
tonalidiom.
sincethenineteenth-century,
theearlyhistory
musicologists

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209
CadentialStructure
lth-Century
Notes
1. This articlewas completedat theVilla I TattiCenterforItalianRenaissance
fortheHumanities
andthe
fromtheNationalEndowment
Studiesthrough
grants
Robert
LehmanFoundation.
2. EdwardE. Lowinsky,The Medici Codex of 1518: A Choirbookof Motets
ofChicago,
DedicatedtoLorenzode'Medici,DukeofUrhino(Chicago:University
1968),3:80.
"AnApproach
tothe
inPutnam
forinstance,
3. Cadenceshavebeendefined,
Aldrich,
Music,"MusicReview30 (1969), 1-21;LeemanPerkins,
AnalysisofRenaissance
"Mode and Structurein theMasses of Josquin,"Journalof theAmerican
"Compositional
Musicological
Society26 (1973), 189-239:BonnieJ.Blackburn,
Journal
Processin theFifteenth
Musicological
Society
oftheAmerican
Century,"
40 (1987):243-46;andHaroldS. Powers,s.v."Mode,"TheNewGroveDictionary
ed.Stanley
Sadie(London:
Macmillan,
1980),vol.12,402-12.
ofMusicandMusicians,
Described
to
Classical
Vocal
4. Bernhard
The
Modes
Meier,
According
of
Polyphony,
theSources,trans.EllenS. Beebe(NewYork:BroudeBrothers,
1988)[hereafter,
4 and5; andKarolBerger,
Musicaficta:Theories
TheModes],Chapters
ofaccidentalinflections
in vocalpolyphony
fromMarchettoda Padova to Gioseffo
Musicaficta],
Zarlino(Cambridge:CambridgeUniversity,
1987) [hereafter,
6.
Chapter
in 1559butindividual
motets
areknowntohavebeen
5. Thecollection
waspublished
ofMusicanova,see Jessie
composedmuchearlier,in the1540s(On thehistory
AnnOwensandRichardJ.Agee,"La stampadella *Musicanova' di Willaert,"
24/2(1989),219-305and thecitations
contained
Rivistaitalianadi musicologia
A moderneditionof themotetsis in volume5 of A. Willaert:Opera
therein.)
Institute
of
ZenckandWalter
Gersten
Omnia,ed. Hermann
berg(Rome:American
Willaert].
1957)[hereafter,
Musicology,
6 Treatisesfromtheyearsaround1500thatdiscussor illustrate
cadences
perfect
include the following:JohannesTinctoris,Liber de arte contrapuncte
PratticaMusice
Gaffurius,
(1477/R1975),Book I, Chapters2-3; Franchinus
(Milan: Mediolani,1496/R1972),Book III, Chapter3, Rule 7; PietroAron,
Toscanelloin musica(Venice:Vitali,1523/R1970),
Book II, Chapter18, and
Trattato
della natura(Venice:Vitali,1525/R1970),
Chapter8; GiovanniMaria
Lanfranco,Scintilledi musica(Brescia: Britannico,1533/R1970),119; and
de musicaaurea(Rome:Dorico,1533/R1969),
Part
Vanneo,Recanetum
Stephano
17.
III, Chapter
7. Musicaficta,132-34;TheModes,91-2.
8. Another
cadenceon G existsin thesecondmeasure
ofthisexampleinthe
perfect
cantusandbassvoices.
9. TheModes,89.
10. Willaert,
6.
11. Musicaficta,137.
12. At leastone Renaissance
ThomasMorley,
between
formal
theorist,
distinguished
cadencesandnon-cadential
of
this
the
latter
'closes'
endings
type,calling
simply
(A Plaine and Easie Introductionto Practicall Musiche (London: Short,
1597/R
1937),73-4.
13. TheModes,90; Musicaficta,132-7.A moredetailed
examination
ofZarlino'sconwill be foundin SiegfriedHermelink,
ceptionof thepre-cadential
suspension

Fromson

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210

Theoryand Practice

Vol.XVI

in Scrittiin onoredi Luigi Ronga (Milan:

"berZarlinosKadenzbegriff,"
Ricciardi,
1973),253-74.
14. Musicaficta,133ff.
15. Willaert,5.
16. Ibid.,6'.
17. Willaert,2.
18. Ibid.,7.
animaemeae"[Manysay
theindependent
clause"Multidicunt
19 Thebasscompletes
tomysoul].
someof whom
theorists
was addressed
20. Thismatter
themselves,
byRenaissance
formula.
Gioseffo
wentso faras to equatethecadencewitha 1-7-1suspension
"ber
see Hermelink,
ofthismatter
Zarlinois a case inpoint.Foran explanation
Zarlinos
Kadenzbegriff."
see Klaus-Jrgen
infifteenth-century
formulae
21. On suspension
Sachs,Der
treatises,
im14. und15. Jahrhundert:
zur
zumTerminus,
Untersuchungen
Contrapunctus
12
Lehreundzu den Quellen,BeiheftezumArchivefrMusikwissenschaft
the
of
149-69.
Late
Steiner,
1974),
sixteenth-century
explanations
(Wiesbaden:
und
have been summarized
by FriederRemppin "Elementarsyncopation
im16. und17.
Musiktheorie
bis Zarlino,"in Italienische
vonTinctoris
Satzlehre
derMusiktheorie
undSatzlehre,
Geschichte
Jahrhundert:
7, ed.
Antikenrezeption
Wissenschaaftliche
FriederZaminer(Darmstadt:
1989),174-8
Buchgesellschaft,
Komar's
is Arthur
ofthetonalsuspension
examination
and185-92.A Schenkerian
A StudyofMetricaland PitchRelationsin TonalMusic
Theory
ofSuspensions:
Princeton
1971).
(Princeton:
University,
22. Willaert,2.
23. TheModes,78; Musicaficta,133.NicolaVicentino's
exampleswillbe foundin
alla moderna
U Anticamusicaridotta
prattica(Rome:A. Barre,1555/R1959),
BookIII, fol.5 lv.
of
criteria
raisedearlieraboutthedefining
us toquestions
24. This,ofcourse,returns
can also
In treatises
of thisperiod,syncopations
thepre-cadential
syncopation.
harmoniche
Le istitutioni
as inGioseffo
(Venice:Zarlino,
Zarlino,
varyinlength,
49.
PartIII,Chapter
1558/R1965),
25. Musicaficta,133.
26. TheModes,92; Musicaficta,133.
della musica(Venice:R. Amadino,1588/R1966),
27. OrazioTigrini,Compendio
BookIII, 72.
tuo"[ButgiveglorytoThy
nomini
thephrase"sedda gloriam
28. Thebasscompletes
name].
intheoriginal
29 A minim
partbook.
in
orfourth
cadenceshavinga leapofa fifth
ifoneincludes
30. Furthermore,
perfect
cadencesexist:onC inm.427andonBkin
lowestvoice,thentwoadditional
their
m.434.
Zarlino
thesecategories.
forsuggesting
LeemanPerkins
toProfessor
31. I amindebted
what
he
called
triedto makea similardistinction
principal
by establishing
PartIII, Chapter
See Le istitutioni
cadences[le cadenzeprincipale].
harmoniche,
61.

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CadentialStructure
16th-Century

Fromson

211

32. TheModes,96-8.
33. lbid.,91-%.
34. Willaert,%6.
35. Ibid.,49.
36. Ibid.,4.
37. TheModes,98.
38. Musicaficta,134.
39. Ibid.,'22-3.
onpages122-23.
forthisformation
thetheoretical
40. Berger
justification
provides
TriadicTonality
is Don Randel's"Emerging
41. Theclassicstudyofthiscontroversy
See alsoRobert
73-86.
57
Musical
The
intheFifteenth
Quarterly (1971):
Century,"
of the 15thCenturyCadential
W. Wienphal,"The Evolutionary
Significance
4 ( 1960): 131-51.
Journal
Formulas,"
ofMusicTheory
42.
43.
44.
45.
46.

Musicaficta,134.
TheModes,92-4.

Willaert,S9.
Ibid.,2.
willbe foundatthetopofthepage,inthesmall
TheModes,124.His explanation
arrow.
ofthediagonal,
totheright
ascending
print
J.Grout,A Historyof Western
in
Donald
found
will
be
47. A succinct
explanation
1988),245.
Music,ed. ClaudeV. Palisca,4thedition(NewYork:W. W. Norton,
172-3.
undSatzlehre,"
"ElementarSee alsoRempp,
fromZarlino'sLe istitutioni
48. Musicaficta,136.Bergerhas adaptedthisdefinition
theevadedcadences
whenidentifying
PartIII, Chapter
54; however,
harmoniche,
inZarlino'sownmusicalexample,Bergeromitsthreeevasions.Each spansthree
onm.3, bt.3; m. 12,bt.3; andm. 19,
commences
anditsthird
half-notes
sonority
bt.3.
49. Willaert,61.
50. Ibid.,5.
51. Ibid.,3.
52. Ibid.,3-4.
thatthescalardegreewouldbe
53. Zarlinodiscussedthisproblem
stating
explicitly,
different
on
two
end
that
in
todeterminecadences
difficult
pitches:
thatis not
an interval
terminates
the
when
arise
could
Another
[on
song
problem
tojudgethemodeinwhichithasbeencomposedbythe
andoneis trying
perfect]
thatarisesfromit).. . One could
finalnoteof thesong(thatis, bytheharmony
it mightnotbe the
voiceone wants,although
choosethelastnotein whichever
theupperorthelowerone.(Le istitunoteofthemode,whether
concluding
proper
PartIV, 191).
tioniharmoniche,
54. Musicaficta,137.
inthesexatthatmoment
55. NorcanthisF be raisedtoFt becauseoftheF sounding
beats2 and3.
tuspartduring
56. TheModes,99-101.

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212
57.
58.
59.
60.
61.
62.
63.
64.
65.

Theoryand Practice

Vol.XVI

Theexpected
noteis G.
TheModes,100.
Willaert,'9.
Ibid.,96.
Ibid.,11-12.

Ibid.,S'.
TheModes,100.
101.
/W</.,
/>/d.
Theoriginal
readsas follows:
Trotzdes unerwarteten
solcherundhnlicher
Kadenzenhandelt
es sich
Ausgangs
undinihrer
Funktion
aberauchbeiihnenumstereotype
musikalisch-syntaktischen
Eine 'cadenzafuggita'
'normale'Verlufe.
vermagdeshalban ihremOrtauchin
zu
modalerHinsicht
die an dieserStelleeinernichtnur
erfllen,
jene Aufgabe
sondern
derErwartung
des Hrersgemssauchzu Endegefhrten
angebahnten,
derklassischen
Kadenzzukme[B. Meier,Die Tonarten
(Utrecht
Vokalpolyphonie
Scheltema
& Holkema,
andOostheok:
1974),86].
5-6.
66. Ibid.,Chapters
67. Willaert,12.
68. Ibid.,24.
69. Musicaficta,137.
willbe foundinsmallprint
inthetableatthetop
70. TheModes,124.Thisdefinition
ofthepage.
thatthecentral
oftheprimaandterzapars indicates
71. Anexamination
pitchofthe
oursuspicion
thattheendingofthismiddle
workis infactF, thusconfirming
pars
is tonally
ambiguous.
72. Willaert,''.
73. Ibid.,118.
74. Ibid.,93.
75. Ibid.,183.
//
L'Anticamusica,Chapters
76. See, forexample,Vicentino,
24-35;OrazioTigrini,
di musica
Book II, Chapters8-28; PietroPontio,Ragionamento
compendio,
Book II; LodovicoZacconi,Pratticadi musica
(Parma:Viotto,1588/R1959),
Cartella
BookII, Chapter
Banchieri,
24; andAdriano
(Venice:Polo,1592/R1967),
etcontrapunto
musicale
nelcantofigurato
1614/R1969),
(Venice:Vincenti,
fermo,
235-48.
77. Musicaficta,138.
ofthe
78. Itsabsencefromso manycadencesseemsto signalthegradualweakening
See
Richard
centuries.
inherited
from
earlier
scant
structure
di
Crocker,
two-part
Journalof theAmerican
andHarmony,"
"Discant,Counterpoint,
Musicological
Society15 (1962): 1-21and BenitoV. Rivera,"HarmonicTheoryin Musical
Music Theory
and EarlySixteenth
Treatisesof theLate Fifteenth
Centuries,"
' (1979):80-95.
Spectrum
couldbe testedon
andZarlino,forinstance,
79. Theformations
defined
byVicentino
MusicaNova.A preliminary
worksfromWillaert's
studyof Zarlino'scadential

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Fromson

loth-CenturyCadeniial Structure

213

formationswill be foundin my "Imitationand Innovationin the North-Italian

of Pennsylvania,1988), 1:20-76.
Motet,1560-1605"(Ph.D. diss.,University
80. Threerecentexaminationsof thissubjectare Ellen S. Beebe, "Text and Mode as
in Clemensnon Papa's 'Accesseruntad Jesum',"
Generatorsof Musical Structure
in Studiesin theHistoryofMusic: Music and Language (Cambridge,Ma.: Harvard
1983), 79-94; Don Harrn,Word-ToneRelationsin Musical Thought
University,
(Neuhausen-Stuttgart:American Instituteof Musicology, 1986), especially
Chapters6-10; and Charles W. Dill, "Non-CadentialArticulationof Structurein
Some Motetsof Josquinand Mouton,"CurrentMusicology33 (1982): 37-56.
81. TheModes, 118.
82. Amongthe most comprehensivestudiesare Edward E. Lowinsky,Tonalityand
Music (Berkeley:Universityof California,1961);
Atonalityin Sixteenth-Century
Carl Dahlhaus, Untersuchungen
ber die Entstehung
der harmonischenTonalitt
(Kassel and New York: Brenreiter, 1968), newly translated by Robert O.
Gjerdingenas Studieson the Originof HarmonicTonality(Princeton:Princeton
University,1990); and Joel Lester,BetweenModes and Keys; German Theory,
] 592-1802 (New York: Pendragon,1989).

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