Conference Agenda
The Online Program of events for the 2026 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
Use the "Filter by Track or Type of Session" or "Filter by Session Topic" dropdown to limit results by type. Some of the sessions are also color-coded: purple indicates performances, grey indicates paper forums, and orange indicates sessions which have been organized by one of the regional associations of IMS (ARLAC or IMSEA). (Sessions which are both IMS sessions and performances are only colored orange.)
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Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:57:19am EDT
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Daily Overview |
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Theories of Premodern Music: Expectations and Enigmas Session Chair: Laurenz Lütteken | |
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Tonal Expectations? On Cadential Trajectories and Half Cadences in Petrucci’s First Books of Frottole CUNY Graduate Center A precursor of the madrigal, the frottola is an ideal early genre for investigating how pitch structures common to both modality and tonality can be employed in ways that seem distinctly tonal. Recently, Megan Long (2020) has called attention to dominant–tonic cadential relationships between phrases as important features of tonal expectation, extending her research on light genres around 1600 to address the frottola. This paper builds on Long’s work by explicitly probing the relationships between cadence pitches and cadence types in the frottola. Focusing on two under-theorized cadence types, namely plagal and what I call ascending whole step (both characterized by specific voice-leadings), I investigate the degree to which rhetorically weaker cadences might be understood as tonal half cadences through their pairing with subsequent rhetorically stronger cadences on pitches a fifth lower. I argue that a corpus study of cadential relationships among adjacent phrases can contextualize the frottola’s use of dominant–tonic trajectories and help understand how this repertoire engenders expectation. I collect cadence data for roughly fifty settings of barzelletta texts drawn from Petrucci’s first three books of frottole (1504, 1504, 1505). These compositions’ tendency towards schematic text setting, regular phrase length, and consistent cadence placement suggests that adjacent phrases can gain interdependency through strategic selection of cadence pitches and cadence types. My findings reveal much variety in the trajectories of both pitches and cadence types between paired phrases. I show that while local dominant–tonic pitch trajectories are one of the most frequent types of pitch trajectories in this repertoire, they occur relatively infrequently in absolute terms, competing with many alternative pitch trajectories. Additionally, cadence type alone is insufficient in anticipating half-cadential function, which emerges in conjunction with the additional parameters of pitch and formal location. In sum, while dominant–tonic pitch trajectories and the voice-leadings associated with tonal half cadences are both present in this repertoire, these two features generally do not yet exhibit the same degree of colocation as in later repertoires. | |