Table of contents

• Acknowledgements

• Introduction

• Chapter 1 - Literature review

  • 1.0 Overview
  • 1.1 Continuo and voice treatises from 18th-century France
  • 1.2 Contemporary works on continuo, historically informed singing, and harmony

• Chapter 2 - Method

  • 2.1 Process overview
  • 2.2 Works analysed
  • 2.3 Harmonic analysis method
  • 2.4 Notation system
  • 2.5 Sample selection
  • 2.6 Data cataloguing

• Chapter 3 - Results

  • 3.0 Compiling the results
  • 3.1 Overview
  • 3.2 Cadences
    • 3.2.1 Plagal cadence
    • 3.2.2 Deceptive cadence
    • 3.2.3 Half-cadence and Phrygian half-cadence
    • 3.2.4 Cadence irrégulière
    • 3.2.5 Interrupted cadence
  • 3.3 Chords
    • 3.3.1 III (generally in a III-V-I context)
    • 3.3.2 VII (generally in a VII-V-I context)
    • 3.3.3 Minor V
    • 3.3.4 V/V
    • 3.3.5 V/IV
    • 3.3.6 Other borrowed dominants - V/II and V/III
    • 3.3.7 Borrowed subdominants
    • 3.3.8 A word on keys

• Chapter 4 - Discussion

• Conclusion

• Bibliography

• Appendix I - The Spreadsheet

• Appendix II - Summaries of analysed works

• Appendix III - Thesis in PDF