- Intellectual Contexts
- The Reception of Hugo Riemann's Music Theory
- “The Nature of Harmony”: A Translation and Commentary
- What <i>is</i> a Function?
- Riemann and Melodic Analysis: Studies in Folk-Musical Tonality
- The Problem of Harmonic Dualism: A Translation and Commentary
- Harmonic Dualism as Historical and Structural Imperative
- Dualistic Forms
- Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music
- Tone Space
- From Matrix to Map: <i>Tonbestimmung</i>, the <i>Tonnetz</i>, and Riemann's Combinatorial Conception of Interval
- On the Imagination of Tone in Schubert's <i>Liedesend</i> (D473), <i>Trost</i> (D523), and <i>Gretchens Bitte</i> (D564)
- Tonal Pitch Space and the (neo-)Riemannian <i>Tonnetz</i>
- Harmonic Space
- Neo-Riemannian Perspectives on the <i>Harmonieschritte</i>, with a Translation of Riemann's <i>Systematik der Harmonieschritte</i>
- On a Transformational Curiosity in Riemann's <i>Schematisirung der Dissonanzen</i>
- Chromaticism and the Question of Tonality
- Temporal Space
- Criteria for Analysis: Perspectives on Riemann's Mature Theory of Meter
- Reading between the Lines: Hugo Riemann and Beethoven's Op. 31 Piano Sonatas
- Metric Freedoms in Brahms's Songs: A Translation and Commentary
- Transformation, Analysis, Criticism
- Riemannian Analytical Values, Paleo- and Neo-
- Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's <i>Le chasseur maudit</i>
- Three Short Essays on Neo-Riemannian Theory
Abstract and Keywords
This article examines figures 1 and 2 in Riemann's 1914–1915 article. First, it examines the different aspect of Riemann's conception of tone: his notion of Klangvertretung, that any tone may project or assume meaning as one of the three elements of a major or minor triad. Second, it explores Riemann's notion of Klangvertretung as outlined in his “Ideen zu einer ‘Lehre on den Tonvorstellungen’”. Third, the article demonstrates the analytical utility of the concept, exploring how attention to the changing triadic-functional identities of tones in three Schubert Lieder offers an enriched view of structural and chromatic third relations in the works.
Suzannah Clark is Gardner Cowles Associate Professor at Harvard University. She previously taught at Oxford University. Her research interests include the history of tonal theory, the analysis and criticism of Schubert's music, as well as the history and analysis of trouvères chansons and thirteenth-century French motets.
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