Ke dvěma principům Schenkerova hudebního myšlení: předkomponovaný model a tvořivé slyšení
| Title in English | On Two Motivations of Schenker's Theory: Ursatz and Fernhören |
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| Authors | |
| Year of publication | 2000 |
| Type | Article in Proceedings |
| Conference | Hudební věda a výchova 8 |
| MU Faculty or unit | |
| Citation | |
| Field | Art, architecture, cultural heritage |
| Keywords | Heinrich Schenker; Music theory; Fundamental line; Fundamental structure; Fernhören |
| Description | The paper deals with the key words of Schenker’s theory: Urlinie (Fundamental line) or Ursatz (Fundamental structure) and Fernhören. Both the moments, speculative and psychological, are often perceived separately. Nevertheless, in the original Schenker's theory, their relation is complementary. Ursatz is sensuously incomprehensible phenomenon, however, in the process of specific inspection, Fernhören successively irradiates from the phenomenon fundament. Besides the speculative thinking, the hearing experience participates in its creation. Ursatz is a hidden feature of things and its sticking on the surface is only fragmentary. At the same time, Fernhören conceived as a creative hearing, is a creative (speculative) thinking, keeping connected both the moments within. |