Dialogue Between Schenker’s Three-Layer Structure and Chinese Music: From Theoretical Foundations to Methodological Boundaries

Abstract

Heinrich Schenker’s three-layer structure theory (foreground, midground, background) is a key methodology in Western tonal music analysis. With simplified reduction as its logical core, this theory strips away surface decorative elements of music layer by layer to reveal the underlying tonal structure. Chinese music features unique characteristics such as pentatonic mode, linear melody, non-functional harmony, and artistic conception expression, which create an adaptation barrier with Schenker’s theory. Based on a review of the core connotations of Schenker’s theory, this paper combines practices of Chinese instrumental and vocal works to analyze the theory’s compatibility and contradictions, and proposes principles and paths for localization adaptation to promote the organic integration of Chinese and Western music theories.