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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。

音乐作品的结构通常是按层次来理解的（例如 Heinrich Schenker （1768-1835，见 Schenkerian 分析） ，以及 Fred Lerdahl 和语言学家 Ray Jackendoff 1985年的《调性音乐的生成理论》）。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包括前景层次，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总结; 背景层次，即 Ursatz，这是调性音乐著作中仅有的几个共享的基本“远距离对位”结构之一。

The pitches and form of tonal music are organized hierarchically, all pitches deriving their importance from their relationship to a tonic key, and secondary themes in other keys are brought back to the tonic in a recapitulation of the primary theme. Susan McClary connects this specifically in the sonata-allegro form to the feminist hierarchy of gender (see above) in her book Feminine Endings, even pointing out that primary themes were often previously called "masculine" and secondary themes "feminine."

The pitches and form of tonal music are organized hierarchically, all pitches deriving their importance from their relationship to a tonic key, and secondary themes in other keys are brought back to the tonic in a recapitulation of the primary theme. Susan McClary connects this specifically in the sonata-allegro form to the feminist hierarchy of gender (see above) in her book Feminine Endings, even pointing out that primary themes were often previously called "masculine" and secondary themes "feminine."

调性音乐的音高和形式是按等级组织的，所有音高的重要性来自于它们与主调的关系，其他调中的次要主题在主要主题的再现中被带回主调。苏珊 · 麦克拉里(Susan McClary)在她的《女性结局》(Feminine Endings)一书中将这一点在奏鸣曲式中具体地与女性主义的性别层次结构(见上文)联系起来，甚至指出，主要的主题通常以前被称为“阳性” ，次要

调性音乐的音高和形式是按等级组织的，所有音高的重要性来自于它们与主调的关系，其他调中的次要主题在主要主题的再现中被带回主调。苏珊·麦克拉里（Susan McClary）在她的《女性结局（(Feminine Endings）一书中将这一点在奏鸣曲式中具体地与女性主义的性别层次结构(见上文)联系起来，甚至指出，主要的主题通常以前被称为“阳性” ，而次要主题被称为“阴性”。

==Criticisms of views, concerning distinctions of type and categories well as distinguishability ==

==Criticisms of views, concerning distinctions of type and categories well as distinguishability ==