Week 12 — Readings & Resources · Cadences and Phrases

Course: MUS 156 Music Theory I · Kenosis College
Instructor: Professor Hemsworth
Unit: Learning Unit 12 of 16 (Week 12) · two sessions per week
Your primary reading is the Week 12 chapter (in this module). Everything below is the optional, go-deeper layer.

How to use this page

Everything here is a link to an external resource — open it in your browser, the way you'd open any link a friend sent you. Nothing to buy, download, or sign into.

The load is light on purpose: six links, grouped by the unit's three big ideas. One item per group is plenty; all six is thorough. If a link disagrees with the course on a convention, the course convention in the Week 12 chapter wins — and this week the dialect gap is real: much of the English-speaking world uses the British cadence names (perfect = our authentic, imperfect = our half, interrupted = our deceptive). Two of the resources below speak that dialect, and each gets a translation note. Noticing the difference — and not being thrown by it — is exactly the judgment this unit trains.

① The five landings — the cadence family

Maps to the chapter's cadence sections and Session 1's Segments 2–5.

• Introduction to Harmony, Cadences, and Phrase Endings — Open Music Theory — the clearest published walkthrough of authentic and half cadences, including a "Cadential Strength and the IAC" section that matches this course's two-condition PAC hinge, plus a hearing-cadences segment with examples. The best single companion read for this unit. (reading, ~15 min)
• Cadence in Music: Authentic, Deceptive, Plagal & Half Cadence — muted.io — every cadence type with a tap-to-play piano example, so you can run session 1's "stop one chord early" experiment on yourself with headphones. Uses our American terms. (interactive, ~10 min)

② Phrases, antecedent and consequent, the period

Maps to the chapter's phrase and period sections and Session 1's Segment 6.

• The Phrase, Archetypes, and Unique Forms — Open Music Theory — read the opening "The Phrase" section and the "Archetype 2: The Period" section; both align with this course. Scope note: the chapter goes on to sentences, hybrids, and compound forms — interesting, but beyond this course by design (that taxonomy belongs to later theory courses). Skim past it guilt-free. (reading, ~12 min for the two sections)
• The period — Open Music Theory — a tight, focused page on exactly our structure: antecedent ending HC or IAC, consequent ending PAC, with an analyzed Haydn example. Ten minutes, and the Ode-to-Joy diagram from the chapter will feel like an old friend. (reading, ~10 min)

③ Hear it — closure by ear

Maps to the chapter's stop-one-chord-early experiment and the studio's prediction rounds.

• Cadence — EarMaster Music Theory Online, ch. 5.6 — a short read with play-me audio for each cadence type. Dialect alert: this page says "perfect cadence" where we say authentic, and "half-cadence" matches ours. Translate as you go; the sounds are the point. (reading with audio, ~8 min)
• Cadences — The 4 types explained — MusicTheoryAcademy — the whole cadence family played and explained at the piano. Dialect alert, strongest of the week: fully British terms — perfect = our authentic, imperfect = our half, interrupted = our deceptive; plagal matches. Watch it as a translation exercise: name each of his examples in our terms before he does. (video, ~10 min — turn captions on with the CC button)

Pick-one quick path (≈15 min total)

Short on time this week? You've read the chapter — then do exactly these two:

1. Play through the cadence examples on muted.io in group ① with your eyes closed — vote full stop / comma / swerve / Amen before you look at the label.
2. Read The period in group ② and hum Ode to Joy against its Haydn diagram.

Heads-up (links rot): these point to outside sites that occasionally move pages. If a link fails, tell Professor Hemsworth and lean on the chapter in the meantime — it covers everything the quiz covers.