@article{Meeùs_2017, place={Florianópolis}, title={Schenker’s Fließender Gesang and the Concept of Melodic Fluency}, volume={2}, url={https://periodicos.udesc.br/index.php/orfeu/article/view/1059652525530402012017160}, DOI={10.5965/2525530402012017160}, abstractNote={<p>The concept of <em>melodic fluency</em> 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 <em>Counterpoint</em>, initiated the development of the <em>Ursatz</em> 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<em> </em>fluency in <em>Counterpoint</em> 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.</p>}, number={1}, journal={Orfeu}, author={Meeùs, Nicolas}, year={2017}, month={dez.}, pages={160–170} }