Schenker and the Tonal Jazz Repertory

Abstract

Henry Martin recently introduces new forms of theUrlinieother than Schenker’s 3-, 5-, and 8-lines to provide superior readings of works from the tonal jazz repertory. This study questions the superiority of these newUrlinien; Schenker’s three forms of theUrsatzare preferred instead. Martin’s dissatisfaction with orthodox Schenkerian theory is traced to his belief in the inviolability of the original melody, which excludes the use of implied tones and forces theUrlinieto appear in the upper voice, thus eliminating theDeckton.