If you look at the "Cadence" chapter of a few conventional harmony textbooks you will come across many terms such as the following: authentic cadence, plagal cadence, perfect cadence, imperfect cadence, full cadence, half cadence, interrupted cadence, deceptive cadence, etc..
The list of names is quite bewildering and, what's more, different writers have given contradictory definitions as to what some of these terms actually mean.
I shall attempt to clear up some of the muddle by using only those terms which are necessary to describe every type of cadence, and by using the most commonly known of these terms when there is a choice. I shall also describe the psychological effect of each of the cadential types.
It must be remembered that all of these different types of cadence have been defined in reference only to the conventional major and minor tonalities. Their relevance to the more unusual scales and cadential progressions that I describe on The Cadence Page will be discussed at the end.