Abstract
The modality of a cadence in polyphonic modal music is commonly assigned by identifying both the lowest-sounding final tone, and the scalic arrangement of the notes leading to it. If the final tone is D, and if the notes preceding it derive from a Dorian scale configuration, we perceive the complex as a cadence to D-Dorian, or, in the context of this article, as an untransposed cadence (Example 1). A cadence to G-Dorianone whose lowest-sounding final tone is G, and whose scalic
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