Conclusion

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A conclusion can have various specific meanings depending on the context. It always assumes, however, some kind of cause and effect scheme, with the conclusion being result of what preceded it. In everyday speech, any thought one arrives at through thinking based on facts and information can be called a conclusion.

Contents

1 Logic
2 Research
3 Writing
4 Music

4.1 Examples
4.2 Source

5 See also

Logic

Research

In research and experimentation, conclusions are determinations made by studying the results of preeceding work within some methodology (for example the scientific method). These often take the form of theories. The conclusion is typically the result of a discussion of the premises. Without a discussion of the premises, there are no conclusion, only assertions and without evidence, that is allegations. Naturally, the accuracy of a given conclusion is dependent on the truth of the chosen premises.

Writing

A conclusion is the final section of an essay in which the writer ties together what was presented in the passage, summing up the main point, explaining how the thesis was proven, and successfully closing the discussion. The conclusion is often the most difficult part of an essay to write, and many writers feel that they have naught left to say after having presented points proving their thesis in the body of the paper. However, the conclusion is often the part of the paper that a reader remembers best, and thus must be effective to be strong. This definition also applies more broadly to any progressive academic or artistic work.

Music

In music, the conclusion may take the form of a coda or outro. Often, there are "altogether unexpected digressions just as a work is drawing to its close, followed by a return...to a consequently more emphatic confirmation of the structural relations implied in the body of the work." (Perle 1990)

Examples

The slow movement of Bach's Brandeberg Concerto No. 2, where a "diminished-7th chord progression interrupts the final cadence.
The slow movement of Beethoven's Fifth Symphony, where "echoing afterthoughts" follow the initial statements of the first theme and only return expanded in the coda.
Varese's Density 21.5, where partitioning of the chromatic scale into (two) whole tone scales provides the missing tritone of b implied in the previously exclusive partitioning by (three) diminished seventh chords.

Source

Perle, George (1990). The Listening Composer. California: University of California Press. ISBN 0520069919.