26:
511:
119:
115:"Structural level" may not exactly correspond to Schenker's own concept. Schenker thought that the levels were levels of elaboration of the piece of music, so that the first level was not the background itself (the starting point), but its first elaboration at the early middleground. He called levels "the voice-leading and transformation levels, prolongations, elaborations, and similar means."
20:
165:
1, p. 3), only here the contrapuntal octave progression of the lower voice is placed not on the divider at the upper fifth, as it was there, but on that at the lower fifth. Voice-leading errors threaten on the way to this divider: consecutive (contrary) fifths at d), open fifths at
27:
153:
c) shows the chromaticisms, effecting more powerful (tonicizing) connections and thereby articulating the octave progression in three third progressions: f–d, d–b, a–f;
63:. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels."
151:
b) introduces the downward register transfer f—f by means of third progressions in the outer voices and the 5—6 exchange, then the renewed swing upwards to f;
125:
The image hereby shows
Schenker's earliest presentation of levels in a figure, his analysis of J.S. Bach's Little Prelude in D minor, BWV 926, in
395:
161:, but is reached through a falling third progression from e. It is the voice-leading that we also encountered in Prelude No. 3 (see Figure 1;
170:
f) finally shows the removal of the consecutive fifths by means of the exchange 6–5, which is also welcome to the diminution."
66:
For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the
240:
388:
231:
Bello, Juan Pablo, ed. (2008). Kirlin, Philip B. and Utgoff, Paul E. "A Framework for
Automated Schenkerian Analysis",
554:
285:
425:
204:
134:
573:
381:
82:. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a
305:(University of Rochester Press, 2005), p. 138, in a quotation from J. Rothgeb's translation of a text from
155:
d) and e) show how, in the second chord of the octave series, the third c is not led up chromatically to c
495:
108:. This translation did not gain wide acceptance in modern Schenkerian literature and the translation of
83:
350:
Transl. by J. Dubiel, slightly modified to make it more literally conform to the German original.
528:
430:
67:
404:
40:
8:
450:
87:
48:
542:
440:
278:
Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
510:
522:
490:
470:
415:
281:
236:
118:
535:
567:
500:
465:
445:
435:
195:
75:
460:
455:
269:
200:
79:
485:
335:
Stimmführungs–, Verwandlungsschichten, Prolongationen, Auswickelung u. ä.
91:
309:, vol. I; Brown otherwise prefers "level". It is not used in F. Salzer,
19:
475:
420:
373:
178:, "level," by "structural") may have been created by Felix Salzer in
51:
at a different level of abstraction, with levels typically including
354:, W. Drabkin ed., vol. I, Oxford University Press 2004, pp. 180-181.
317:(Norton, 1982), or in E. Aldwell, C. Schachter and A. Cadwallader,
133:"The figure hereafter shows the gradual growth of the voice-leading
301:(Cambridge, 1996), alongside "level". It appears once in M. Brown,
71:
211:
74:, representing the digression from and necessary return to the
321:(Schirmer, 2011), etc., where "level" is used exclusively.
367:, Boni, 1952, pp. 119, 121, 122, 125, 155, 205 and 264.
182:. Salzer apparently never uses "level" alone to mean
299:Schenker's Argument and the Claims of Music Theory
297:The word "strata" can be found in L. D. Blasius,
260:, Appendix 4, text P (translation by J. Rothgeb).
565:
274:Introduction to the Theory of Heinrich Schenker
106:Introduction to the Theory of Heinrich Schenker
104:("Levels") as described by Oswald Jonas in his
174:The expression "structural level" (completing
389:
313:(Boni, 1952), in A. Forte and S. E. Gilbert,
100:is the translation given by John Rothgeb for
396:
382:
70:is the most basic structural level of all
112:as "levels" usually has been preferred.
403:
18:
137:, all predetermined in the womb of the
566:
377:
315:Introduction to Schenkerian Analysis
149:progression and the first intervals;
16:Structural level of a piece of music
13:
205:Prolongation in Schenkerian theory
129:5 (1923), p. 8. Schenker writes:
117:
14:
585:
509:
357:
344:
324:
291:
263:
246:
225:
1:
7:
189:
10:
590:
218:
145:a) gives the image of the
552:
518:
507:
411:
319:Harmony and Voice Leading
84:perfect authentic cadence
47:is a representation of a
280:). Trans. John Rothgeb.
337:English translation in
307:The Masterwork in Musik
23:Fundamental structure.
172:
122:
35:
431:Fundamental structure
131:
121:
68:fundamental structure
22:
574:Schenkerian analysis
405:Schenkerian analysis
41:Schenkerian analysis
451:Obligatory register
303:Explaining Tonality
252:Heinrich Schenker,
92:sonata allegro form
441:Linear progression
365:Structural Hearing
311:Structural Hearing
256:, 1935, §301. See
180:Structural Hearing
123:
36:
561:
560:
523:Heinrich Schenker
471:Register transfer
416:Bass arpeggiation
241:978-0-615-24849-3
581:
536:Free Composition
513:
481:Structural level
426:Fundamental line
398:
391:
384:
375:
374:
368:
361:
355:
348:
342:
339:Free Composition
328:
322:
295:
289:
276:, p.138. (1934:
267:
261:
258:Free Composition
250:
244:
229:
160:
159:
86:(V-I) after the
45:structural level
34:
33:
32:
30:
589:
588:
584:
583:
582:
580:
579:
578:
564:
563:
562:
557:
548:
514:
505:
407:
402:
372:
371:
362:
358:
349:
345:
333:, 1935, p. 17:
329:
325:
296:
292:
268:
264:
251:
247:
230:
226:
221:
192:
167:
157:
156:
154:
152:
150:
142:
78:that motivates
38:
28:
25:
24:
17:
12:
11:
5:
587:
577:
576:
559:
558:
553:
550:
549:
547:
546:
539:
532:
525:
519:
516:
515:
508:
506:
504:
503:
498:
496:Voice exchange
493:
488:
483:
478:
473:
468:
463:
458:
453:
448:
443:
438:
433:
428:
423:
418:
412:
409:
408:
401:
400:
393:
386:
378:
370:
369:
356:
343:
331:Der freie Satz
323:
290:
262:
254:Der freie Satz
245:
223:
222:
220:
217:
216:
215:
208:
198:
191:
188:
49:piece of music
15:
9:
6:
4:
3:
2:
586:
575:
572:
571:
569:
556:
551:
545:
544:
540:
538:
537:
533:
531:
530:
526:
524:
521:
520:
517:
512:
502:
501:Voice leading
499:
497:
494:
492:
489:
487:
484:
482:
479:
477:
474:
472:
469:
467:
466:Reaching over
464:
462:
459:
457:
454:
452:
449:
447:
446:Neighbor note
444:
442:
439:
437:
434:
432:
429:
427:
424:
422:
419:
417:
414:
413:
410:
406:
399:
394:
392:
387:
385:
380:
379:
376:
366:
360:
353:
347:
340:
336:
332:
327:
320:
316:
312:
308:
304:
300:
294:
287:
283:
279:
275:
271:
270:Jonas, Oswald
266:
259:
255:
249:
242:
238:
234:
228:
224:
214:
213:
209:
206:
202:
199:
197:
196:Klang (music)
194:
193:
187:
185:
181:
177:
171:
168:
164:
148:
143:
140:
136:
135:prolongations
130:
128:
120:
116:
113:
111:
107:
103:
99:
95:
93:
89:
85:
81:
77:
73:
69:
64:
62:
58:
54:
50:
46:
42:
31:
21:
541:
534:
529:Counterpoint
527:
480:
461:Prolongation
456:Primary tone
364:
359:
352:Der Tonwille
351:
346:
338:
334:
330:
326:
318:
314:
310:
306:
302:
298:
293:
277:
273:
265:
257:
253:
248:
232:
227:
210:
201:Prolongation
183:
179:
175:
173:
169:
162:
146:
144:
138:
132:
127:Der Tonwille
126:
124:
114:
109:
105:
101:
97:
96:
80:musical form
65:
60:
57:middleground
56:
52:
44:
37:
486:Tonal space
363:F. Salzer,
88:development
72:tonal music
476:Scale-step
421:Diminution
286:0582282276
233:ISMIR 2008
61:background
53:foreground
491:Unfolding
235:, p.363.
110:Schichten
102:Schichten
568:Category
555:Glossary
272:(1982).
190:See also
163:Tonwille
158:♯
543:Harmony
341:, p. 5.
219:Sources
212:Urlinie
203:, also
184:Schicht
176:Schicht
147:Urlinie
139:Urlinie
284:
239:
98:Strata
59:, and
436:Klang
76:tonic
282:ISBN
237:ISBN
43:, a
29:Play
166:e);
90:of
39:In
570::
186:.
94:.
55:,
397:e
390:t
383:v
288:.
243:.
207:.
141:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
,_Tonwille_5,_p._8.png)