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另一方面，语言包括多种不分等级的现象。例如，代词和它所指的名词短语之间的关系，通常以非等级的方式跨越语法界限。

另一方面，语言包括多种不分等级的现象。例如，代词和它所指的名词短语之间的关系，通常以非等级的方式跨越语法界限。

===Music===

===Music 音乐===

The structure of a musical composition is often understood hierarchically (for example by [[Heinrich Schenker]] (1768–1835, see [[Schenkerian analysis]]), and in the (1985) [[Generative theory of tonal music|Generative Theory of Tonal Music]], by composer [[Fred Lerdahl]] and linguist Ray [[Jackendoff]]). The sum of all notes in a piece is understood to be an all-inclusive surface, which can be reduced to successively more sparse and more fundamental types of motion. The levels of structure that operate in Schenker's theory are the foreground, which is seen in all the details of the musical score; the middle ground, which is roughly a summary of an essential contrapuntal progression and voice-leading; and the background or [[Ursatz]], which is one of only a few basic "long-range counterpoint" structures that are shared in the gamut of tonal music literature.

The structure of a musical composition is often understood hierarchically (for example by [[Heinrich Schenker]] (1768–1835, see [[Schenkerian analysis]]), and in the (1985) [[Generative theory of tonal music|Generative Theory of Tonal Music]], by composer [[Fred Lerdahl]] and linguist Ray [[Jackendoff]]). The sum of all notes in a piece is understood to be an all-inclusive surface, which can be reduced to successively more sparse and more fundamental types of motion. The levels of structure that operate in Schenker's theory are the foreground, which is seen in all the details of the musical score; the middle ground, which is roughly a summary of an essential contrapuntal progression and voice-leading; and the background or [[Ursatz]], which is one of only a few basic "long-range counterpoint" structures that are shared in the gamut of tonal music literature.

The structure of a musical composition is often understood hierarchically (for example by Heinrich Schenker (1768–1835, see Schenkerian analysis), and in the (1985) Generative Theory of Tonal Music, by composer Fred Lerdahl and linguist Ray Jackendoff). The sum of all notes in a piece is understood to be an all-inclusive surface, which can be reduced to successively more sparse and more fundamental types of motion. The levels of structure that operate in Schenker's theory are the foreground, which is seen in all the details of the musical score; the middle ground, which is roughly a summary of an essential contrapuntal progression and voice-leading; and the background or Ursatz, which is one of only a few basic "long-range counterpoint" structures that are shared in the gamut of tonal music literature.

The structure of a musical composition is often understood hierarchically (for example by Heinrich Schenker (1768–1835, see Schenkerian analysis), and in the (1985) Generative Theory of Tonal Music, by composer Fred Lerdahl and linguist Ray Jackendoff). The sum of all notes in a piece is understood to be an all-inclusive surface, which can be reduced to successively more sparse and more fundamental types of motion. The levels of structure that operate in Schenker's theory are the foreground, which is seen in all the details of the musical score; the middle ground, which is roughly a summary of an essential contrapuntal progression and voice-leading; and the background or Ursatz, which is one of only a few basic "long-range counterpoint" structures that are shared in the gamut of tonal music literature.

音乐创作音乐的结构通常是按等级来理解的(例如 Heinrich Schenker (1768-1835，见 Schenkerian 分析) ，以及 Fred Lerdahl 和语言学家 Ray Jackendoff 在1985年的声调音乐生成理论)。一段乐曲中所有音符的总和被理解为一个包含所有音符的曲面，它可以简化为更加稀疏和更加基本的运动类型。在申克的理论中运作的结构层次是前景层次，这在音乐乐谱的所有细节中都可以看到; 中间层次，大致上是对位进行和主音的概括; 背景层次，即 Ursatz，这是调性音乐文学中仅有的几个共享的基本“远距离对位”结构之一。

音乐作品的结构通常是按层级来理解的(例如 Heinrich Schenker (1768-1835，见 Schenkerian 分析) ，以及 Fred Lerdahl 和语言学家 Ray Jackendoff 在1985年的声调音乐生成理论)。一段乐曲中所有音符的总和被理解为一个包含所有音符的曲面，它可以简化为更加稀疏和更加基本的运动类型。在申克的理论中运作的结构层次是前景层次，这在音乐乐谱的所有细节中都可以看到; 中间层次，大致上是对位进行和主音的概括; 背景层次，即 Ursatz，这是调性音乐文学中仅有的几个共享的基本“远距离对位”结构之一。