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：阅读早期的现代音乐重音

绕过一个不和谐的平坦的7号，现在通常被称为爵士“ blue” 7号，“ English”节奏是早期现代英语音乐的一个鲜明特征。这种独特的声音引导模式通常嵌入在内部部件的纹理中，它通过克服自身的规律性而起作用：通过短暂地螺旋成不可预测的方式，突出了其可预测性，节奏的规律性。然而，自从托马斯·莫利（Thomas Morley）称它为“一成不变的”以来，“英语”节奏受到了怀疑，无论是英语还是在早期现代音乐结构中的作用。这种怀疑大部分源于节奏的“装饰”或“装饰”地位。因此，“英语”节奏通常被认为对整个音乐的音调是多余的。然而，这些解释没有考虑到近代早期英国人对装饰品的现代思考。本文力求证明，通过超越当代音乐理论论文中对“英语”脚踏圈速的近乎解释，转向当时的视觉文化，有可能朝着对脚踏圈速交流的方式进行更细微的了解。