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Rameau’s privileging of harmony over melody may be set against the pendulum swing of Kurth’s pure melodic energy. Although Schenker’s theory clearly identifies linear motion as governed by harmony, Schenker could still place great importance on melodic directionality and impulse as independent elements, even when they run counter to the harmonic setting or to the descending trajectory of the Urlinie. Extrapolating from Schenker’s work, this paper will examine what I call contra-structural melodic impulses, characterized by two aspects: directionality and ambitus, and acting as a compositionally significant counter pull to the tonal structure.

“Plays of Opposing Motion”