TY - JOUR AU - Meeùs, Nicolas PY - 2017/12/19 Y2 - 2024/03/29 TI - Schenker’s Fließender Gesang and the Concept of Melodic Fluency JF - Orfeu JA - Orfeu VL - 2 IS - 1 SE - Dossiê DO - 10.5965/2525530402012017160 UR - https://www.revistas.udesc.br/index.php/orfeu/article/view/1059652525530402012017160 SP - 160-170 AB - <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> ER -