Editing Schenkerian analysis (section)

===Goals===
Schenker intended his theory as an exegesis of musical "genius" or the "masterwork", ideas that were closely tied to German nationalism and [[monarchism]].<ref>''Free Composition'', pp. xxi–xxiv, 158–162. ''Der Tonwille'', English translation, Vol. I, 17.</ref> The canon represented in his analytical work therefore is almost entirely made up of German music of the [[common practice period]] (especially that of [[Johann Sebastian Bach]], [[Carl Philipp Emanuel Bach]], [[Joseph Haydn]], [[Wolfgang Amadeus Mozart]], [[Ludwig van Beethoven]], [[Franz Schubert]], and [[Johannes Brahms]]),<ref>For a complete list of the works discussed by Schenker, see Larry Laskowski, ''Heinrich Schenker. An Annotated Index to his Analyses of Musical Works'', New York, Pendragon, 1978. Influential early exponents of Schenker's theory in the United states, [[Adele T. Katz]] and [[Felix Salzer]], opposed Schenker's musical conservatism and expanded the analytical method to more modern repertoire. See {{section link||Early reception in the US}}</ref> and he used his methods to oppose more modern styles of music such as that of [[Max Reger]] and [[Igor Stravinsky]].<ref>''Das Meisterwerk in der Musik'', vol. II, pp. 17–18, 192 (English translation, p. 1–22, 117)</ref> This led him to seek the key to an understanding of music in the traditional disciplines of counterpoint and figured bass, which was central to the compositional training of these composers. Schenker's project was to show that free composition (''freier Satz'') was an elaboration, a "[[prolongation]]", of strict composition (''strenger Satz''), by which he meant species counterpoint, particularly two-voice counterpoint. He did this by developing a theory of hierarchically organized levels of elaboration (''Auskomponierung''), called prolongational levels, voice-leading levels (''Stimmführungsschichten''), or transformations (''Verwandlungen''), the idea being that each of the successive levels represents a new freedom taken with respect to the rules of strict composition.<ref>See Schenker's "instructional plan" described in his Introduction to ''Free Composition'', pp. xxi–xxii. The steps of this plan are: "Instruction in strict writing (according to Fux-Schenker), in thorough-bass (according to J.S. and C.P.E. Bach) and in free writing (according to Schenker), that finally combines all studies and places them in the service of the law of organic coherence as it reveals itself in the ''Ursatz'' (''Urlinie'' and bass arpeggiation) as background, in the voice-leading transformations as middelground and ultimately through the foreground." (Translation modified following ''Der freie Satz'', 1935, p. 2.)</ref>

Because the first principle of the elaboration is the filling in of the tonal space by passing notes, an essential goal of the analysis is to show linear connections between notes which, filling a single triad at a given level, remain closely related to each other but which, at subsequent levels, may become separated by many measures or many pages as new triads are embedded in the first one. The analyst is expected to develop a "distance hearing" (''Fernhören''),<ref>''Der Tonwille'' 1 (1921), p. 23; 2 (1922), pp. 31 and 35; ''Der Tonwille'', English translation, vol. I, pp. 22, 77 and 82. The term has been taken over by Wilhelm Furtwängler, ''Wort und Ton'', Wiesbaden, Brockhaus, 1954, pp. 201–202.</ref> a "structural hearing".<ref>[[Felix Salzer]], ''Structural Hearing'', New York, Boni, 1952.</ref>