Twisting through a dissonant flattened 7th now more commonly recognized as the Jazz ‘blue’ 7th, the ‘English’ cadence is a distinctive feature of early modern English music. Typically embedded within the texture of a piece in an inner part, this distinctive voice-leading pattern works by pulling against its own regularity: it highlights its predictability, the regularity of the cadence, by spiralling, just briefly, into the unpredictable. Nevertheless, ever since Thomas Morley dubbed it a thing ‘naught and stale’ the ‘English’ cadence has had a dubious reception, both in terms of its Englishness and its role within early modern musical textures. Much of this doubt derives from the status of the cadence as ‘ornament’ or ‘decoration’. As such the ‘English’ cadence is often viewed as superfluous to the tonality of the music as a whole. However, these interpretations do not take into account contemporary thinking about ornament and decoration in early modern England. This article seeks to demonstrate that by looking beyond the scant contemporary accounts of the ‘English’ cadence in musical theoretical treatises towards the visual culture of the period, it is possible to move towards a more nuanced understanding of the way the cadence communicates.

中文翻译：

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“英语”节奏：阅读早期现代音乐比喻

穿过不和谐的扁平 7 度，现在更普遍地被认为是爵士乐的“蓝色”7 度，“英国”节奏是早期现代英国音乐的一个显着特征。这种独特的声音引导模式通常嵌入在内部部分的纹理中，通过拉动其自身的规律性来发挥作用：它突出了其可预测性，节奏的规律性，通过简单地螺旋式进入不可预测性。然而，自从托马斯莫利将其称为“无用和陈旧”的东西以来，“英国”的节奏就其英国性及其在早期现代音乐结构中的作用而言，一直受到质疑。这种怀疑大部分源于节奏作为“装饰品”或“装饰品”的地位。因此，“英语”节奏通常被视为对整个音乐的音调来说是多余的。然而，这些解释没有考虑到现代早期英国对装饰和装饰的当代思考。本文试图证明，通过超越当代音乐理论论文中对“英语”节奏的少量描述，转向该时期的视觉文化，有可能对节奏的交流方式有更细致的理解。