The Oxford Handbook of Neo-Riemannian Music Theories

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Overview


In recent years Hugo Riemann's ideas have thoroughly captured the music-theoretical imagination, both in the United States and abroad. Neo-Riemannian theory has proven particularly adept at explaining features of chromatic music where other theoretical approaches have failed, and thereby established itself as the leading theoretical approach of our time. The Oxford Handbook of Neo-Riemannian Music Theories brings together an international group of leading proponents of Riemannian and neo-Riemannian theory for a thoroughgoing exploration of the music-analytical, systematic, and historical aspects of this important new field. The volume elucidates key aspects of the field, draws connections between Riemann's original ideas and current thought, and suggests new applications and avenues for further study. A number of essays suggest connections to other fields of inquiry, such as cognitive and mathematical music theory, as well as applications in the field of metric or melodic analysis. The selection of essays is complemented by several of Hugo Riemann's key original texts, many of which appear in English translation for the first time, and is rounded off by a glossary of key concepts for easy reference.
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Editorial Reviews

From the Publisher

"This volume is of major importance to professional music theorists as well as musicians interested in the deep structure of chromatic tonal music. It is the most comprehensive set of neo-Riemannian analyses now available, conjoining, as it does, the historical Hugo Riemann with contemporary thought and techniques." --The Beethoven Journal

"Provide[s] a thorough study of the analytical, systematic, and historic aspects of this field...An excellent compilation...Highly recommended." --Choice

"The twenty essays in this Oxford Handbook provide a broad cross section of the range of research currently being done, either on Riemann or inspired by his ideas. At the same time these essays suggest many avenues for further research." --Fontes Artis Musicae

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Product Details

  • ISBN-13: 9780195321333
  • Publisher: Oxford University Press, USA
  • Publication date: 12/2/2011
  • Series: Oxford Handbooks Series
  • Pages: 648
  • Product dimensions: 7.20 (w) x 9.80 (h) x 2.20 (d)

Meet the Author

Edward Gollin is Associate Professor of Music at Williams College.
Alexander Rehding teaches music at Harvard University. His interests are in the history of music theory, and in nineteenth and twentieth century music. He is the author of Hugo Riemann and the Birth of Modern Musical Thought and Music and Monumentality, and is co-editor of Acta musicologica.

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Table of Contents

Acknowledgments Preface

Part I. Intellectual Contexts Chapter 1. The Reception of Hugo Riemann's Music Theory Ludwig Holtmeier

Chapter 2. The Nature of Harmony: A Translation and Commentary Benjamin Steege

Chapter 3. What is a Function?
Brian Hyer

Chapter 4. Riemann and Melodic Analysis: Studies in Folk-Musical Tonality Matthew Gelbart and Alexander Rehding

Part II. Dualism Chapter 5. The Problem of Harmonic Dualism: A Translation and Commentary Ian Bent

Chapter 6. Harmonic Dualism as Historical and Structural Imperative Henry Klumpenhouwer

Chapter 7. Dualistic Forms Alexander Rehding

Chapter 8. Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music Dmitri Tymoczko

Part III. Tone Space Chapter 9. From Matrix to Map: Tonbestimmung, the Tonnetz, and Riemann's Combinatorial Conception of Interval Edward Gollin

Chapter 10. On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564)
Suzannah Clark

Chapter 11. Tonal Pitch Space and the (neo-) Riemannian Tonnetz Richard Cohn

Part IV. Harmonic Space Chapter 12. Neo-Riemannian Perspectives on the Harmonieschritte, with a Translation of Riemann's "Systematik der Harmonieschritte"
Nora Engebretsen

Chapter 13. On a Transformational Curiosity in Riemann's Schematisirung der Dissonanzen Edward Gollin

Chapter 14. Chromaticism and the Question of Tonality David Kopp

Part V. Temporal Space Chapter 15. Perspectives on Riemann's Mature Theory of Meter William E. Caplin

Chapter 16. Reading Between the Lines: Hugo Riemann and Beethoven's Op. 31 Piano Sonatas Scott Burnham

Chapter 17. Metric Freedoms in Brahms's Songs: A Translation and Commentary Paul Berry

Part VI. Transformation, Analysis, Criticism Chapter 18. Riemannian Analytical Values, Paleo- and Neo-
Steven Rings

Chapter 19. Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's Le chasseur maudit Robert C. Cook

Chapter 20. Three Short Essays on Neo-Riemannian Theory Daniel Harrison

Glossary Selected Bibliography Index

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