My terminology is not always that conventionally used in Schenkerian theory. The reason is that whenever possible I turn back to Schenker’s original texts in German; I am afraid their English translation is not always what it should be.
This particularly concerns the terms Urlinie and Ursatz, that I translate respectively as « primal line » and « primal structure » (unless I keep them in German). The translation of the prefix Ur- in « fundamental » is most probably due to Felix Salzer (Structural Hearing, 1952, p. 12).
Another term that I do not use in the same way as in the American usage is Prolongation. Schenker made use of this term, which is not very common in German, to denote the passing from one level to the next or, more generally, the transformation of the rules of strict counterpoint applicable in the background into less restrictive rules, belonging to a freer style of writing, at levels closer to the foreground. The term that Schenker used to denote the inscription of, say, a harmonic degree (Stufe) in a temporal span, that American Schenkerians usually call a « prolongation », is « elaboration » (Auskomponierung). I try to keep to Schenker’s own usage.