![]() ![]() The best one can say is the voice never goes above the notes indicated as background tones, and the piano is quite restrained, too, only going higher in the E major section and in its short coda. And abstract it certainly is, as its connection to specific melodic elements has no stronger a claim than do other triad notes. I would not rule this "Urlinie" out, of course, but I doubt I'd call it an Urlinie-maybe something more like "abstract top-level melodic shape," but that's not very snappy sounding, alas. Instead, Denny slips seamlessly to another hermeneutic plane and suggests that the Urlinie that he identifies "mirrors Ganymed's ascent into the clouds." (Clark, 108) He makes no comment about its unusual behavior (Schenker's final verdict was that an Urlinie should always descend and should always be strictly diatonic). Denny finds an ascending Urlinie, from Eb to E-nat to F. The thread that joins the keys in "Ganymed" turns out to be an extraordinary turn of Schenkerian events. ![]() The complex of keys in "Ganymed" unfolds beneath, he says, an Urlinie. ![]() He spots them between Ab and Cb on the one hand and E and C on the other, this configuration problematically omits the final key from consideration. The degree to which symmetrical pairs of thirds may be detected in its array of five keys. Denny of Schubert's song "Ganymed," D544. Suzannah Clark comments on an analysis by Thomas A. This is the last entry in the "internet search" series. ![]()
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