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In Schenkerian analysis, the fundamental structure ((ドイツ語:Ursatz)) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The following is an example in C major, with the fundamental line descending from scale degree ::The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flow into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. I, p. 53, translation by R. Snarrenberg.:The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth, takes the ascending direction (fig. 1). () The combination of fundamental line and bass arpeggiation constitutes a ''unity''. () Neither the fundamental line nor the bass arpeggiation can stand alone. Only when acting together, when unified in a contrapuntal structure, do they produce art.Schenker, Heinrich, ''Free Composition'', translation by Ernst Oster, New York, Longman, 1979, pp. 10-11.==Fundamental line==Urlinie redirects directly here-->The fundamental line ((ドイツ語:Urlinie)) is the melodic aspect of the Fundamental structure (''Ursatz''), "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect.Middleton, Richard (1990/2002). ''Studying Popular Music'', p.193. Philadelphia: Open University Press. ISBN 0-335-15275-9. The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (primary tone, head tone) may be , or .:There are no tonal spaces other than those of —, —, and —. There is no other origin for passing-tone progressions, or of melody.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.Lines from are rare; some Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from .
In Schenkerian analysis, the fundamental structure ((ドイツ語:Ursatz)) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The following is an example in C major, with the fundamental line descending from scale degree :
:The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flow into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading.〔Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. I, p. 53, translation by R. Snarrenberg.〕
:The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth, takes the ascending direction (fig. 1). () The combination of fundamental line and bass arpeggiation constitutes a ''unity''. () Neither the fundamental line nor the bass arpeggiation can stand alone. Only when acting together, when unified in a contrapuntal structure, do they produce art.〔Schenker, Heinrich, ''Free Composition'', translation by Ernst Oster, New York, Longman, 1979, pp. 10-11.〕
==Fundamental line==
The fundamental line ((ドイツ語:Urlinie)) is the melodic aspect of the Fundamental structure (''Ursatz''), "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect.〔Middleton, Richard (1990/2002). ''Studying Popular Music'', p.193. Philadelphia: Open University Press. ISBN 0-335-15275-9.〕 The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (primary tone, head tone) may be , or .
:There are no tonal spaces other than those of —, —, and —. There is no other origin for passing-tone progressions, or of melody.〔Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.〕
Lines from are rare; some Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from .
抄文引用元・出典: フリー百科事典『 The fundamental line ((ドイツ語:Urlinie)) is the melodic aspect of the Fundamental structure (''Ursatz''), "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect.Middleton, Richard (1990/2002). ''Studying Popular Music'', p.193. Philadelphia: Open University Press. ISBN 0-335-15275-9. The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (primary tone, head tone) may be , or .:There are no tonal spaces other than those of —, —, and —. There is no other origin for passing-tone progressions, or of melody.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.Lines from are rare; some Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from .">ウィキペディア（Wikipedia）』
■The fundamental line ((ドイツ語:Urlinie)) is the melodic aspect of the Fundamental structure (''Ursatz''), "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect.Middleton, Richard (1990/2002). ''Studying Popular Music'', p.193. Philadelphia: Open University Press. ISBN 0-335-15275-9. The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (primary tone, head tone) may be , or .:There are no tonal spaces other than those of —, —, and —. There is no other origin for passing-tone progressions, or of melody.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.Lines from are rare; some Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from .">ウィキペディアで「In Schenkerian analysis, the fundamental structure ((ドイツ語:Ursatz)) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The following is an example in C major, with the fundamental line descending from scale degree ::The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flow into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. I, p. 53, translation by R. Snarrenberg.:The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the fifth, takes the ascending direction (fig. 1). () The combination of fundamental line and bass arpeggiation constitutes a ''unity''. () Neither the fundamental line nor the bass arpeggiation can stand alone. Only when acting together, when unified in a contrapuntal structure, do they produce art.Schenker, Heinrich, ''Free Composition'', translation by Ernst Oster, New York, Longman, 1979, pp. 10-11.==Fundamental line==Urlinie redirects directly here-->The fundamental line ((ドイツ語:Urlinie)) is the melodic aspect of the Fundamental structure (''Ursatz''), "a stepwise descent from one of the triad notes to the tonic" with the bass arpeggiation being the harmonic aspect.Middleton, Richard (1990/2002). ''Studying Popular Music'', p.193. Philadelphia: Open University Press. ISBN 0-335-15275-9. The fundamental line fills in the spaces created by the descending arpeggiation of the tonic triad. Its first tone (primary tone, head tone) may be , or .:There are no tonal spaces other than those of —, —, and —. There is no other origin for passing-tone progressions, or of melody.Schenker, Heinrich, ''Der Tonwille'', Oxford University Press, 2004, vol. II, p. 117, translation by I. Bent. It will be noted that the tonal spaces are presented here in ascending order: this is because Schenker in 1924 had not yet conceived the fundamental line as necessarily descending.Lines from are rare; some Schenkerians consider them impossible. There appears to exist a tendency, in modern Schenkerian analyses, to prefer lines from .」の詳細全文を読む
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