522:
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126:"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."
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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
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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;
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74:. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels."
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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;
136:
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
172:, 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;
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f) finally shows the removal of the consecutive fifths by means of the exchange 6–5, which is also welcome to the diminution."
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For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the
296:
584:
392:
242:
Bello, Juan Pablo, ed. (2008). Kirlin, Philip B. and Utgoff, Paul E. "A Framework for
Automated Schenkerian Analysis",
94:
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93:. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a
316:(University of Rochester Press, 2005), p. 138, in a quotation from J. Rothgeb's translation of a text from
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d) and e) show how, in the second chord of the octave series, the third c is not led up chromatically to c
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119:. This translation did not gain wide acceptance in modern Schenkerian literature and the translation of
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Transl. by J. Dubiel, slightly modified to make it more literally conform to the German original.
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Das Wesen des musikalischen
Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers
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Stimmführungs–, Verwandlungsschichten, Prolongationen, Auswickelung u. ä.
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320:, vol. I; Brown otherwise prefers "level". It is not used in F. Salzer,
384:
222:
189:, "level," by "structural") may have been created by Felix Salzer in
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at a different level of abstraction, with levels typically including
365:, W. Drabkin ed., vol. I, Oxford University Press 2004, pp. 180-181.
328:(Norton, 1982), or in E. Aldwell, C. Schachter and A. Cadwallader,
144:"The figure hereafter shows the gradual growth of the voice-leading
312:(Cambridge, 1996), alongside "level". It appears once in M. Brown,
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85:, representing the digression from and necessary return to the
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332:(Schirmer, 2011), etc., where "level" is used exclusively.
378:, Boni, 1952, pp. 119, 121, 122, 125, 155, 205 and 264.
193:. Salzer apparently never uses "level" alone to mean
310:Schenker's Argument and the Claims of Music Theory
308:The word "strata" can be found in L. D. Blasius,
271:, Appendix 4, text P (translation by J. Rothgeb).
285:Introduction to the Theory of Heinrich Schenker
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117:Introduction to the Theory of Heinrich Schenker
115:("Levels") as described by Oswald Jonas in his
185:The expression "structural level" (completing
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324:(Boni, 1952), in A. Forte and S. E. Gilbert,
111:is the translation given by John Rothgeb for
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81:is the most basic structural level of all
123:as "levels" usually has been preferred.
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148:, all predetermined in the womb of the
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326:Introduction to Schenkerian Analysis
160:progression and the first intervals;
27:Structural level of a piece of music
216:Prolongation in Schenkerian theory
140:5 (1923), p. 8. Schenker writes:
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156:a) gives the image of the
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330:Harmony and Voice Leading
95:perfect authentic cadence
58:is a representation of a
291:). Trans. John Rothgeb.
348:English translation in
318:The Masterwork in Musik
34:Fundamental structure.
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442:Fundamental structure
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79:fundamental structure
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585:Schenkerian analysis
416:Schenkerian analysis
52:Schenkerian analysis
462:Obligatory register
314:Explaining Tonality
263:Heinrich Schenker,
103:sonata allegro form
452:Linear progression
376:Structural Hearing
322:Structural Hearing
267:, 1935, §301. See
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482:Register transfer
427:Bass arpeggiation
252:978-0-615-24849-3
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374:F. Salzer,
99:development
83:tonal music
18:Vordergrund
487:Scale-step
432:Diminution
297:0582282276
244:ISMIR 2008
72:background
64:foreground
502:Unfolding
246:, p.363.
121:Schichten
113:Schichten
579:Category
566:Glossary
283:(1982).
201:See also
174:Tonwille
169:♯
554:Harmony
352:, p. 5.
230:Sources
223:Urlinie
214:, also
195:Schicht
187:Schicht
158:Urlinie
150:Urlinie
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109:Strata
70:, and
447:Klang
87:tonic
293:ISBN
248:ISBN
54:, a
40:Play
177:e);
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