Halves Requiring Completion

Abstract

Sixteenth-century theorists did not describe phrase structure; they were concerned instead with counterpoint. But phrase was an unavoidable consideration in the fast-paced, syllabic environment of vocal homophony. Schematic text-setting ensured that homophonic phrases were concise and discrete, segmenting the musical surface into short, symmetrical units demarcated by efficient cadences. Melodic construction changed in turn, as composers focused on getting from cadence to cadence. These early experiments with phrase design had a strong harmonic component: through the analysis of over one thousand phrases, this chapter demonstrates how repertoire-wide norms privilege dominant–tonic relationships at the phrase level. Composers supported these harmonic trajectories with new melodic strategies that emphasized transposition and transformation of goal-directed motives. Ultimately, phrase structure—especially the nascent musical period—encouraged dynamic listening strategies that played a crucial role in the early development of tonality.