347:
50:
973:
17:
341:
368:
328:
320:
304:
296:
288:
280:
272:
264:
252:
244:
236:
126:
42:
35:
28:
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The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth, takes the ascending direction (fig. 1). The combination of fundamental line and bass arpeggiation constitutes a
585:, Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.
348:
187:
73:
150:
through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the
Urlinie and the vertical formulation presented by the harmonic degrees is
51:
164:. Neither the fundamental line nor the bass arpeggiation can stand alone. Only when acting together, when unified in a contrapuntal structure, do they produce art.
388:
is not common in German, but it was not created by
Schenker. Its meaning is close to that of "axiom"; it is used among others by Schopenhauer. The translation of
373:
463:; "primal line" captures more of the resonance the word would have had for Schenker's readers, who would immediately have made the association with
444:
as "the structural top voice". These expressions were taken over by Felix Salzer, who apparently was the first to speak of "fundamental structure".
857:
324:
are rare; some
Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from
111:. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, depending on which tonic triad pitch is the
360:
The upper fifth of a chord, presenting itself by leap in the service of a passing motion or neighbor note, I call an upper-fifth divider
416:, one of the first commentators of Schenker in the United States, may be responsible for the choice of "structure" as a translation for
146:
on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of
769:
45/1, p. 185. See also
Snarrenberg, Robert (1997). "Competing Myths: The American Abandonment of Schenker’s Organicism »,
689:
228:
aspect. The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (
850:
569:
1035:
1016:
651:
Andererseits hat auch der subjektive
Ausgangspunkt und Ursatz "die Welt ist meine Vorstellung" sein Inadäquates,
666:, English translation, W. Drabkin ed., I. Bent et alii transl., Cambridge University Press, 3 vols., 1994-1997.
1040:
843:
784:
Die
Urpflanze wird das wunderlichste Geschöpf von der Welt über welches mich die Natur selbst beneiden soll
957:
679:, English translation, W. Drabkin ed., I. Bent et alii transl., Oxford University Press, 2 vols., 2004.
787:
64:
990:
424:
as "the elemental structure out of which the composition evolves." In 1945, she opposed the "
89:
866:
515:
475:
thats that were the ultimate philological goals of their respective historical disciplines.
372:
in the
Urlinie. Together, they may form the germ of a dominant chord at a later level. See
309:
8:
912:
602:, J. Rothgeb ed. and transl., 2d edition, Ann Arbor, Musicalia Press, p. 49, example 62.
1004:
902:
510:
972:
984:
952:
932:
877:
565:
367:
327:
319:
303:
295:
287:
279:
271:
263:
251:
243:
235:
221:
135:
125:
108:
41:
34:
27:
693:
615:, Oxford University Press, 2004, vol. I, p. 176, translation by J. Dubiel, modified.
459:
We lost something when we adopted "fundamental line" as the standard translation of
997:
942:
828:
93:
209:
191:
77:
120:
538:, Oxford University Press, 2004, vol. I, p. 53, translation by R. Snarrenberg.
1029:
962:
927:
907:
897:
413:
217:
213:
151:
147:
100:
97:
922:
917:
229:
112:
947:
85:
16:
782:
Johann
Wolfgang Goethe, Letter to Friedrich Constantin von Stein, 1787:
480:
364:
In the case of the Ursatz, the upper-fifth divider is in the service of
937:
882:
835:
408:
have chosen to retain the German original terms in their translations.
340:
204:
143:
713:
Katz, Adele T. (1935). "Heinrich
Schenker's Method of Analysis",
551:, translation by Ernst Oster, New York, Longman, 1979, pp. 10-11.
225:
116:
335:
199:
396:
as "fundamental line" has been questioned. The translators of
598:, Wien, Universal, revised edition, 1972, p. 38, example 62.
447:
While "structure" may seem acceptable as a translation of
173:
96:
and in the most abstract form. A basic elaboration of the
728:
Challenge to
Musical Tradition. A New Concept of Tonality
455:
as "fundamental" is much less. As Stephen Peles puts it,
115:. The example hereby shows a fundamental structure in
773:, A. Pople ed., Cambridge University Press, p. 29-56.
451:
in this context, by want of anything better, that of
832:. Ernst Oster, tr. and ed. New York: Longman, 1979.
763:Schenker's Argument and the Claims of Music Theory
485:usually is translated as "primal", as in Goethe's
1027:
821:Analysis of Tonal Music: A Schenkerian Approach
600:Introduction to the Theory of Heinrich Schenker
501:, "primal form", "archetype" (Schelling), etc.
564:, p.193. Philadelphia: Open University Press.
260:There are no tonal spaces other than those of
851:
336:Bass arpeggiation and the upper-fifth divider
750:Structural Hearing. Tonal Coherence in Music
119:, with the fundamental line descending from
626:Kleines deutsch-lateinisches Handwörterbuch
858:
844:
823:. New York: Oxford University Press, 1998.
596:EinfĂĽhrung in die Lehre Heinrich Schenkers
46:supported by an arpeggiation of the bass.
865:
339:
172:
15:
177:Urlinie in relation to the tonic triad.
1028:
887:
839:
819:Cadwallader, Allen and Gagné, David.
771:Theory, Analysis and Meaning in Music
202:aspect of the Fundamental structure (
104:
88:as it occurs at the most remote (or "
628:, Hannover, Leipzig, 1910, col. 318.
804:Alles Urdenken geschieht in Bildern
730:, New York, Alfred A. Knopf, p. 15.
168:
13:
813:
800:Die Welt als Wille und Vorstellung
639:Die Welt als Wille und Vorstellung
392:as "fundamental structure" and of
14:
1052:
761:Peles, Stephen (2001). Review of
971:
752:, New York, Charles Boni, p. 12.
560:Middleton, Richard (1990/2002).
366:
326:
318:
302:
294:
286:
278:
270:
262:
250:
242:
234:
142:) of a basic triad, it presents
124:
40:
33:
26:
792:
776:
755:
742:
733:
720:
707:
682:
669:
308:. There is no other origin for
84:) describes the structure of a
656:
649:, Band 3, ZĂĽrich 1977, p. 22:
631:
618:
605:
588:
575:
554:
541:
528:
379:
1:
521:
497:, "primal image" (Goethe) or
489:, the "primal plant", or in
398:Das Meisterwerk in der Musik
7:
767:The Journal of Music Theory
643:Ergänzungen zum ersten Buch
504:
440:chords" and she translated
312:progressions, or of melody.
10:
1057:
420:. She defined in 1935 the
1014:
980:
969:
873:
406:Schenker Documents Online
404:and those of the project
802:, Berlin, 2014, p. 433:
212:descent from one of the
1036:Post-tonal music theory
726:Katz, Adele T. (1945).
664:The Masterwork in Music
134:The Urlinie offers the
765:by Leslie D. Blasius,
748:Salzer, Felix (1952).
562:Studying Popular Music
479:In other disciplines,
477:
362:
356:
314:
195:
178:
166:
156:
81:
60:
893:Fundamental structure
798:Arthur Schopenhauer,
715:The Musical Quarterly
493:("primal thinking"),
457:
358:
344:Upper-fifth divider.
343:
258:
176:
157:
132:
103:, it consists of the
69:fundamental structure
19:
1041:Schenkerian analysis
867:Schenkerian analysis
826:Schenker, Heinrich.
675:Schenker, Heinrich,
662:Schenker, Heinrich,
647:Werke in zehn Bänden
611:Schenker, Heinrich,
581:Schenker, Heinrich,
547:Schenker, Heinrich,
534:Schenker, Heinrich,
516:Schenkerian analysis
374:Schenkerian analysis
232:, head tone) may be
65:Schenkerian analysis
913:Obligatory register
739:Katz (1945), p. 18.
107:accompanied by the
903:Linear progression
511:Linear progression
357:
179:
61:
1023:
1022:
985:Heinrich Schenker
933:Register transfer
878:Bass arpeggiation
690:"Schenker - Home"
637:A. Schopenhauer,
222:bass arpeggiation
109:bass arpeggiation
1048:
998:Free Composition
975:
943:Structural level
888:Fundamental line
860:
853:
846:
837:
836:
829:Free Composition
807:
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759:
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692:. Archived from
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635:
629:
622:
616:
609:
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592:
586:
579:
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549:Free Composition
545:
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432:chords" to the "
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323:
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183:fundamental line
169:Fundamental line
129:
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105:fundamental line
76:
58:
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38:
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31:
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814:Further reading
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624:K. E. Georges,
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958:Voice exchange
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630:
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594:Oswald Jonas,
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963:Voice leading
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956:
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951:
949:
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941:
939:
936:
934:
931:
929:
928:Reaching over
926:
924:
921:
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916:
914:
911:
909:
908:Neighbor note
906:
904:
901:
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717:21/3, p. 314.
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696:on 2014-11-07
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414:Adele T. Katz
411:
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152:voice leading
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29:
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18:
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991:Counterpoint
989:
923:Prolongation
918:Primary tone
892:
827:
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766:
762:
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749:
744:
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727:
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709:
698:. Retrieved
694:the original
684:
677:Der Tonwille
676:
671:
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658:
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646:
642:
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625:
620:
613:Der Tonwille
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583:Der Tonwille
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548:
543:
536:Der Tonwille
535:
530:
498:
494:
490:
486:
481:
478:
472:
468:
467:, and other
464:
460:
458:
452:
448:
446:
441:
437:
434:contrapuntal
433:
429:
425:
421:
417:
412:
409:
405:
402:Der Tonwille
401:
397:
393:
389:
385:
383:
363:
359:
315:
310:passing-tone
259:
230:primary tone
203:
182:
180:
161:
158:
139:
133:
121:scale degree
113:primary tone
68:
62:
21:
20:The minimal
948:Tonal space
471:thises and
380:Terminology
316:Lines from
220:" with the
140:Auswicklung
1030:Categories
938:Scale-step
883:Diminution
700:2013-10-11
522:References
438:prolonging
430:structural
224:being the
90:background
86:tonal work
953:Unfolding
487:Urpflanze
465:Ursprache
384:The term
198:) is the
188:‹See Tfd›
136:unfurling
74:‹See Tfd›
24:: a line
1017:Glossary
505:See also
491:Urdenken
426:harmonic
226:harmonic
210:stepwise
144:tonality
1005:Harmony
461:Urlinie
442:Urlinie
394:Urlinie
200:melodic
196:Urlinie
117:C major
806:, etc.
568:
499:Urform
495:Urbild
422:Ursatz
390:Ursatz
386:Ursatz
292:, and
208:), "a
205:Ursatz
192:German
148:chords
82:Ursatz
78:German
67:, the
22:Ursatz
898:Klang
218:tonic
214:triad
162:unity
101:triad
98:tonic
94:level
653:etc.
566:ISBN
449:Satz
436:and
428:and
418:Satz
400:and
350:Play
181:The
53:Play
645:),
482:Ur-
473:Ur-
469:Ur-
453:Ur-
248:or
92:")
63:In
1032::
786:.
376:.
332:.
276:,
256:.
240:,
194::
130::
80::
859:e
852:t
845:v
789:.
703:.
641:(
572:.
300:—
284:—
268:—
185:(
154:.
138:(
71:(
59:.
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