- The Oxford Handbook of Neo-Riemannian Music Theories
- Part I 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
- Part II Dualism
- 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
- Part III 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>
- Part IV 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
- Part V 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
- Part VI 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
- Selected Bibliography
Abstract and Keywords
This article considers Riemann's analysis of Schubert's triadic but highly chromatic Gb-major Impromptu. This article compares Riemann's own analysis of the work with neo-Riemannian view inspired by the writings of Richard Cohn, assessing the differences in analytical methodology and technology, and locating those differences with the divergent ideologies of the two approaches. In this article, the central focus is not on the analytical technologies, but rather on the assumptions and values that underlie the distinct analytical perspectives. It focuses on the analytical values, with a focus on the methodological and ethical contrasts between these two approaches. The article ends by considering the ways in which a technical rapprochement between the theories might open ethical horizons and provide new ways to value music through Riemann-inspired analytical activity.
Steven Rings is an associate professor of music and the humanities at the University of Chicago. His research focuses on transformational theory, phenomenology, popular music, and voice. Before turning his attention to music theory, he was active as a concert classical guitarist in the United States and Portugal. His book Tonality and Transformation (Oxford 2011) won the Emerging Scholar Award from the Society for Music Theory.
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