Page:The New International Encyclopædia 1st ed. v. 03.djvu/882

* CADDO. 776 CADENCE. tribes, with ten gentes. Like most tribes of this stock, the Caddo were sedentary and agricul- tural, and were especially distinguished in early years for their friendly and hoipitalile character. They now number about 500, residing on allot- ments within their former reservation in west- ern Oklahoma, which was opened to white settle- ment in 1SK)1. CAD'DOAN STOCK. An Indian linguistic group rejiresented in the South by the Caddo and Wichita and associated tribes, and in the Xorth by the Pawnee and Arikara (q.v.). Their original home seems to have been the lower Red River country of Louisiana and Arkansas, whence the Caddo and ^Vichita moved westward into Texas and the Indian Territory, while the Pawnee moved nortliwestward and settled upon the Lower Platte in Nebraska. The Arikara of North Dakota are a comparatively recent off- shoot from the advance guard of the Pawnee. Like the Southern Indians generally, the Cad- doan tribes were agricultural and more or less sedentiiry. In all their shifting they have re- tained these characteristics, preferring solidly built houses of earth-covered logs or grass thatch to the portable tepee, and depending more upon their gardens of corn and pumpkins than upon the buffalo-hunt. They have dwindled almost to disapiJearance, the entire stock numbering now- only 1870 souls, although within living memory the Pawnee alone numbered 10.000. CADE, .T.CK ( ? -1450). The leader of an insurrection beginning in Kent, England, June, 1450. He was of Irish birth, and had served in the French wars. Assuming the name' of Morti- mer, and clainiing relationship with the Duke of York, Cade marched with 20,000 to 30.000 armed men on London, and encamped at Blackheath, whence he kept up a communication with the citizens, many of whom were in secret sympathy with the rising. The Court sent to inquire why the 'good men of Kent' had left their homes. Cade, in a paper entitled "The Complaint of the Commons of Kent," replied that the people were being robbo'd of their goods for the King's use: that mean and corrujjt persons, who plundered and oppressed the commons, filled the high offices at Court; that it was "noised that the King's lands in France had been aliened" ; that mis- government had banished justice and prosperity "from the land: that the men of Kent were espe- cially ill-treated and overtaxed, and that the free election of knights of their shire had been hin- dered. In another paper, called "Tile Requests by the Captain of the Great .ssembly in Kent," Cade demanded that the King should resvuue the grants of the Crown, which he complained the creatures about the royal person fattened on, while the King was compelled to live on taxation : that the false progeny of the Duke of Suffolk should be dismissed; and that the Duke of York and others should be restored to favor, and a number of persons punished. The Court sent its answer in the form of an army, before which Cade retreated to Seven Oaks, where he awaited the attack of a detachment, which he defeated. The royal army refused to fight against their countrvinen ; the Court made some concessions, and Cade entered London on July 3. For two . days he maintained the strictest order; but he forced the Lord Mayor and the judges to pass judgment upon Lord Say, one of the King's most unpopular favorites, whose head Cade's men immediately cut off in Cheapside. On the third day some houses were plundered, the leader him- self, it is said, setting the example. Cade, who at night lodged his army in the suburbs, received news that the citizens intended to prevent his entrance into the city on the next day, and in the night he made an attack on the bridge, but was defeated. The promise of pardon sowed dis- sension among his followers, who dispersed, and a price was set upon Cade's head. He attempted to reach the Sussex coast, but was slain near Lewes by Iden, the sheriff of Kent, on July 11. CADELL', Francis (1822-79). A Scottish explorer, born at Cockenzie. In 1S3U he entered the service of the East India Company as midship- man, and in 1844 was appointed to command a vessel. In 1848 an examination of the mouth of the Murray River, in .ustralia. convinced him of the navigability of that river, as to which he was further satisfied by an extended tour of ex- ploration undertaken in 1850. He iJionioted the formation of a navigation company, the first of Avhose steamboats accomplished, in 1853, a voyage of 300 miles. Until 1850 he was busily con- cerned in explorations. In 18G7. when sailing in command of a vessel from Amboyna to the Kci Islands, he was murdered by the crew. CADENCE (Med. Lat. cadentia, from cadcre, to fall). The "fall' or close of a musical phrase or period. The terra may apply to a melodic as well as an harmonic ending, and does not neces- sarily imply a "fall' in pitch. In the most satis- factory final cadence, called Perfect, the melody passes upward to the final chord, so the term merely implies a subsiding from motion to rest, partial or complete. The word cadence is so inseparably associated with harmonic effects that we usually consider it in its specific sense, as ' the group of chords which form the harmonic turning-point or ending of every plirase, section, period, or complete movement. Cadences may be said to be the punctuation marks of the lan- guage of music. Some give the effect of finality — the full stop, or period. Others are merely pauses, like commas, and others, in their un- certiiin, questioning efl'ect, are like interrogation marks. A final cadence, to give perfect satis- faction, must leave the tonality clearly defined by ending on the tonic chord; and its efl'ect will be strengthened if the tonic tone is made espe- cially prominent bj' appearing in the soprano as well as the bass. When the dominant or domi- nant seventh chord precedes the tonic, the ca- dence is called Authentic; where the subdomi- nant chord precedes it, the cadence is Plagal. When, in either of these forms, the two chords are in fundamental position (in ritord), and the soprano passes upward to the tonic, the cadence is Perfect. With any other movement of the voices, it is Imiierfect. The names Authentic and Plagal were used in early ecclesiastical music; and the latter cadence, called also the Amen cadence, is rarely used ex- cept in sacred music. Directly opposed to the final character of the Authentic cadence is the Half-Cadciicc, called also the Ilalf-Close, which ends on the dominant chord, preceded by the tonic. This gives the effect of an incomplete or partial close, and may be compared to a semicolon. When the chord of the dominant is followed by any other chord