23:
385:
323:
17:
108:, those implied, are in the middle or background. Middleground dyads are "unfolded" in the foreground: "intervals conceptually heard as sounding together are separated in time, unfolded, as it where, into a melodic sequence."
24:
85:(New York, Norton, 1947), under the form "compound melodic line" (London edition, 1947, p. 23). In the context of Schenkerian analysis, it appears among others in Forte & Gilbert,
207:
426:
100:
by means of the unfolding of intervals horizontally." Though the notes skipped between, those heard, may be considered near the
200:
176:
155:
366:
419:
237:
450:
193:
455:
307:
412:
37:
340:
384:
242:
400:
216:
167:
Samarotto, Frank (2009). "The
Divided Tonic in the First Movement of Beethoven's Op. 132",
8:
262:
354:
252:
322:
334:
282:
227:
172:
151:
347:
292:
101:
16:
445:
75:
71:
63:
396:
20:
Unfolding: outlining thirds through skipping between the upper and lower notes
439:
312:
277:
257:
247:
46:
392:
272:
267:
117:
105:
97:
67:
59:
297:
287:
232:
185:
127:
122:
81:
The term "compound melody" may have its origin in Walter Piston's
55:
93:, New York, Norton, 1947, had spoken of "implied polyphony".
89:(1982), Chapter 3, pp. 67–80. Manfred Bukofzer,
169:
437:
420:
201:
148:Encyclopaedic Dictionary of Music, Volume 1
427:
413:
208:
194:
215:
15:
438:
189:
379:
87:Introduction to Schenkerian Analysis
54:is the implication of more than one
13:
74:, the phenomenon is also known as
14:
467:
171:, p.5. Sly, Gordon, ed. Ashgate.
383:
321:
161:
140:
1:
133:
399:. You can help Knowledge by
7:
111:
66:back and forth between the
10:
472:
378:
62:by a single voice through
364:
330:
319:
223:
91:Music in the Baroque Era
70:of the two melodies. In
146:Pandey, Ashish (2005).
33:
243:Fundamental structure
19:
451:Schenkerian analysis
217:Schenkerian analysis
38:Schenkerian analysis
263:Obligatory register
456:Music theory stubs
253:Linear progression
34:
408:
407:
373:
372:
335:Heinrich Schenker
283:Register transfer
228:Bass arpeggiation
463:
429:
422:
415:
387:
380:
348:Free Composition
325:
293:Structural level
238:Fundamental line
210:
203:
196:
187:
186:
180:
165:
159:
144:
96:Unfolding is "a
31:
30:
29:
27:
471:
470:
466:
465:
464:
462:
461:
460:
436:
435:
434:
433:
376:
374:
369:
360:
326:
317:
219:
214:
184:
183:
166:
162:
145:
141:
136:
114:
76:melodic fission
72:music cognition
52:compound melody
25:
22:
21:
12:
11:
5:
469:
459:
458:
453:
448:
432:
431:
424:
417:
409:
406:
405:
388:
371:
370:
365:
362:
361:
359:
358:
351:
344:
337:
331:
328:
327:
320:
318:
316:
315:
310:
308:Voice exchange
305:
300:
295:
290:
285:
280:
275:
270:
265:
260:
255:
250:
245:
240:
235:
230:
224:
221:
220:
213:
212:
205:
198:
190:
182:
181:
160:
150:, p.50. Gyan.
138:
137:
135:
132:
131:
130:
125:
120:
113:
110:
9:
6:
4:
3:
2:
468:
457:
454:
452:
449:
447:
444:
443:
441:
430:
425:
423:
418:
416:
411:
410:
404:
402:
398:
395:article is a
394:
389:
386:
382:
381:
377:
368:
363:
357:
356:
352:
350:
349:
345:
343:
342:
338:
336:
333:
332:
329:
324:
314:
313:Voice leading
311:
309:
306:
304:
301:
299:
296:
294:
291:
289:
286:
284:
281:
279:
278:Reaching over
276:
274:
271:
269:
266:
264:
261:
259:
258:Neighbor note
256:
254:
251:
249:
246:
244:
241:
239:
236:
234:
231:
229:
226:
225:
222:
218:
211:
206:
204:
199:
197:
192:
191:
188:
178:
177:9781409493938
174:
170:
164:
157:
156:9788182052918
153:
149:
143:
139:
129:
126:
124:
121:
119:
116:
115:
109:
107:
103:
99:
94:
92:
88:
84:
79:
77:
73:
69:
65:
61:
57:
53:
49:
48:
43:
39:
28:
18:
401:expanding it
393:music theory
390:
375:
353:
346:
341:Counterpoint
339:
302:
273:Prolongation
268:Primary tone
168:
163:
147:
142:
118:Counterpoint
98:prolongation
95:
90:
86:
83:Counterpoint
82:
80:
51:
45:
41:
35:
298:Tonal space
440:Categories
288:Scale-step
233:Diminution
134:References
102:foreground
47:Ausfaltung
303:Unfolding
128:Polyphony
123:Monophony
44:(German:
42:unfolding
367:Glossary
112:See also
64:skipping
355:Harmony
446:Melody
175:
154:
104:, the
56:melody
391:This
248:Klang
106:dyads
68:notes
50:) or
397:stub
173:ISBN
152:ISBN
60:line
26:Play
58:or
36:In
442::
78:.
40:,
428:e
421:t
414:v
403:.
209:e
202:t
195:v
179:.
158:.
32:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.