Schenker’s Fließender Gesang and the Concept of Melodic Fluency

Autores

  • Nicolas Meeùs University Paris-Sorbonne

DOI:

https://doi.org/10.5965/2525530402012017160

Palavras-chave:

teoria musical, música - análise, apreciação, análise schenriana, melodia

Resumo

The concept of melodic fluency is considered today an important one in Schenkerian theory. William Pastille (1990:71-72) shows that this notion, first presented in the first volume of Counterpoint, initiated the development of the Ursatz concept. The knowledge of the principle of melodic fluency, he adds, affords two abilities: “the ability to uncover long-range melodic motions and the ability to reveal underlying contrapuntal patterns”, which “became the mainstays of his analytical approach.” Allen Cadwallader and William Pastille (1992:120) confirm that Schenker “formally introduced” the concept of melodic fluency in Counterpoint I, and define it as “essentially a name for good voice leading in strict counterpoint”. William Rothstein, who defines Schenker’s concept of melodic fluency as a “stepwise continuity in the upper voice” (1991:292), makes it an essential element of his description of “implied tones”, when a conjunct tone is implied in an apparently leaping melodic line.

Referências

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CADWALLADER, Allen, and William PASTILLE (1992). “Schenker’s High-Level Motives”. Journal of Music Theory 36/1, pp. 119-148.

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PANKHURST, Thomas (2008). Schenker Guide. A Brief Handbook and Website for Schenkerian Analysis. New York, London, Routledge.

PASTILLE, William (1990). “The Development of the Ursatz in Schenker’s Published Works”. Trends in Schenkerian Research, Allen Cadwallader ed., New York, Schirmer, pp. 71-85a.

RAMEAU, Jean-Philippe (1722). Traité de L’Harmonie Reduite à ses Principes naturels. Paris, Ballard.

ROTHSTEIN, William (1991). “On Implied Tones”. Music Analysis 10/3, pp. 289-328.

SCHEIBE Johann Adolph (1738). Critischer Musikus, vol. I. Hamburg, von Wierings Erben.

SCHENKER, Heinrich (1906/1954). Harmonielehre. Stuttgart and Berlin, Cotta, 1906.

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Publicado

2017-12-19

Como Citar

Meeùs, N. (2017). Schenker’s Fließender Gesang and the Concept of Melodic Fluency. Orfeu, 2(1), 160-170. https://doi.org/10.5965/2525530402012017160