Show Summary Details

Page of

PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). © Oxford University Press, 2018. All Rights Reserved. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice).

date: 27 September 2020

(p. 582) (p. 583) Selected Bibliography

(p. 582) (p. 583) Selected Bibliography

Apfel, Ernst, and Carl Dahlhaus. Studien zur Theorie und Geschichte der musikalischen Rhythmik und Metrik, 2 vols. Munich: Emil Katzbichler, 1974.Find this resource:

Arntz, Michael. Hugo Riemann (1849–1919): Leben, Werk und Wirkung. Cologne: Allegro, 1999.Find this resource:

Babbitt, Milton. Words about Music: The Madison Lectures. Edited by Stephen Dembski and Joseph N. Straus. Madison: University of Wisconsin Press, 1987.Find this resource:

Balzano, Gerald. “The Group Theoretic Description of 12-Fold and Microtonal Pitch Systems.” Computer Music Journal 4 (1980): 66–84.Find this resource:

Bass, Richard. “Enharmonic Position Finding and the Resolution of Seventh Chords in Chromatic Music.” Music Theory Spectrum 29.1 (2007): 73–100.Find this resource:

——— . “Review of David Kopp, Chromatic Transformations in Nineteenth-Century Music.” Music Theory Online 10.1 (2004).Find this resource:

Belinfante, Ary. “De leer der tonale functien in conflict met die der polaire tegenstelling.” Orgaan van de Vereeniging van Muziek-Onderwijzers en -Onderwijzeressen 4.9 (1904): 1–2.Find this resource:

Benjamin, William. “Interlocking Diatonic Collections as a Source of Chromaticism in Late Nineteenth-Century Music.” In Theory Only 1.11–12 (1975): 31–51.Find this resource:

Bernstein, David. The Harmonic Theory of Georg Capellen. Ann Arbor, MI: UMI Press, 1986.Find this resource:

——— . “Symmetry and Symmetrical Inversion in Turn-of-the-Century Theory and Practice.” In Music Theory and the Exploration of the Past, ed. Christopher Hatch and David W. Bernstein, 377–409. Chicago: University of Chicago Press, 1993.Find this resource:

Blackwood, Easely. The Structure of Recognizable Diatonic Tunings. Princeton: Princeton University Press, 1986.Find this resource:

Blasius, Leslie David. Schenker's Argument and the Claims of Music Theory. Cambridge Studies in Music Theory and Analysis 9. Cambridge: Cambridge University Press, 1996.Find this resource:

Böhme-Mehner, Tatjana, and Klaus Mehner, eds. Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch. Cologne: Böhlau Verlag, 2001.Find this resource:

Bribitzer-Stull, Matthew. “The A♭–C–E Complex: The Origin and Function of Chromatic Major Third Collections in Nineteenth-Century Music.” Music Theory Spectrum 28.2 (2006): 167–190.Find this resource:

Brower, Candace. “A Cognitive Theory of Musical Meaning.” Journal of Music Theory 44 (2000): 323–379.Find this resource:

——— . “Paradoxes of Pitch Space.” Music Analysis 27.1 (2008): 51–106.Find this resource:

Budday, Wolfgang. Harmonielehre Wiener Klassik: Theorie-Satztechnik-Werkanalyse. Stuttgart: Berthold & Schwerdtner, 2002.Find this resource:

Burnham, Scott. Beethoven Hero. Princeton, NJ: Princeton University Press, 1995.Find this resource:

——— . “Form.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 880–906. Cambridge: Cambridge University Press, 2002.Find this resource:

——— . “Method and Motivation in Hugo Riemann's History of Harmonic Theory.” Music Theory Spectrum 14.1 (1992): 1–14.Find this resource:

(p. 584) ——— . “The Second Nature of Sonata Form.” In Music Theory and Natural Order from the Renaissance to the Early Twentieth Century, ed. Suzannah Clark and Alexander Rehding, 111–141. Cambridge: Cambridge University Press, 2001.Find this resource:

Bußler, Ludwig. Lexikon der musikalischen Harmonien. Berlin: Carl Habel, 1889.Find this resource:

Callender, Clifton. “Voice-Leading Parsimony in the Music of Alexander Scriabin.” Journal of Music Theory 42.2 (1998): 219–233.Find this resource:

Callender, Clifton, Ian Quinn, and Dmitri Tymoczko. “Generalized Voice Leading Spaces.” Science 320 (2008): 346–348.Find this resource:

Capellen, Georg. Die Abhängigkeitsverhältnisse in der Musik. Leipzig: C. F. Kahnt, 1904.Find this resource:

——— . Die Freiheit oder Unfreiheit der Töne und Intervalle. Leipzig: Kahnt, 1904.Find this resource:

——— . Die musikalische Akustik als Grundlage der Harmonik und Melodik. Leipzig: Kahnt, 1903.Find this resource:

——— . “Die Unmöglichkeit und Überflüssigkeit der dualistischen Molltheorie Riemanns.” Neue Zeitschrift für Musik 68 (1901): 529–531, 541–543, 553–555, 569–572, 585–587, 601–603, 617–619.Find this resource:

——— . Die Zukunft der Musiktheorie (Dualismus oderMonismus?) und ihre Einwirkung auf die Praxis. Leipzig: Kahnt, 1905.Find this resource:

——— . Ein neuer exotischer Musikstil. Stuttgart: Carl Grüninger, 1906.Find this resource:

——— . Fortschrittliche Harmonie- und Melodielehre. Leipzig: Breitkopf und Härtel, 1908.Find this resource:

Caplin, William E. “Der Akzent des Anfangs: Zur Theorie des musikalischen Taktes.” Zeitschrift für Musiktheorie 9.1 (1978): 17–28.Find this resource:

——— . “Moritz Hauptmann and the Theory of Suspensions.” Journal of Music Theory 28.2 (1984): 251–69.Find this resource:

——— . “Theories of Musical Rhythm in the Eighteenth and Nineteenth Centuries.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 657–694. Cambridge: Cambridge University Press, 2002.Find this resource:

——— . “Tonal Function and Metrical Accent: A Historical Perspective.” Music Theory Spectrum 5 (1983): 1–14.Find this resource:

Carter, Elliot. “Letter to the Editor: On the Nature of Music Theory.” Journal of Music Theory 3.1 (1959): 170.Find this resource:

Childs, Adrian P. “Moving Beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords.” Journal of Music Theory 42.2 (1998): 181–193.Find this resource:

Christensen, Thomas. “Music Theory and Its Histories.” In Music Theory and the Exploration of the Past, ed. Christopher Hatch and David W. Bernstein, 9–39. Chicago: University of Chicago Press, 1993.Find this resource:

——— . Rameau and Musical Thought in the Enlightenment. Cambridge: Cambridge University Press, 1993.Find this resource:

——— . “The Schichtenlehre of Hugo Riemann.” In Theory Only 6 (1982): 37–44.Find this resource:

Clark, Suzannah. “Schubert, Theory and Analysis.” Music Analysis 21 (2002): 209–243.Find this resource:

——— . “Seduced by Notation: Oettingen's Topology of the Major-Minor System.” In Music Theory and Natural Order, ed. Suzannah Clark and Alexander Rehding, 161–180. Cambridge: Cambridge University Press, 2001.Find this resource:

——— . “Terzverwandtschaft in der Unvollendeten von Schubert und der Waldstein-Sonate von Beethoven—Kennzeichen des neunzehnten Jahrhunderts und theoretisches Problem.” Schubert durch die Brille 20 (1998): 122–130.Find this resource:

Clough, John. “A Rudimentary Geometric Model for Contextual Transposition and Inversion.” Journal of Music Theory 42.2 (1998): 297–306.Find this resource:

Cohn, Richard. “As Wonderful as Star Clusters: Instruments for Gazing at Tonality in Schubert.” Nineteenth-Century Music 22.3 (1999): 213–232.Find this resource:

(p. 585) ——— . “Hexatonic Poles in Parsifal.” Opera Quarterly 22.2 (2006): 230–48.Find this resource:

——— . “An Introduction to Neo-Riemannian Theory: A Survey and Historical Perspective.” Journal of Music Theory 42.2 (1998): 167–180.Find this resource:

——— . “Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions.” Music Analysis 15.1 (1996): 9–40.Find this resource:

——— . “Music Theory's New Pedagogability.” Music Theory Online 4.2 (1998).Find this resource:

——— . “Neo-Riemannian Operations, Parsimonious Trichords, and Their Tonnetz Representations.” Journal of Music Theory 41.1 (1997): 1–66.Find this resource:

——— . “Review of Tonal Pitch Space.” Music Theory Spectrum 29.1 (2007): 101–114.Find this resource:

——— . “Square Dances with Cubes.” Journal of Music Theory 42.2 (1998): 283–295.Find this resource:

——— . “Uncanny Resemblances: Harmonic Signification in the Freudian Age.” Journal of the American Musicological Society 57.2 (2004): 285–323.Find this resource:

——— . “Weitzmann's Regions, My Cycles, and Douthett's Dancing Cubes.” Music Theory Spectrum 22.1 (2000), 89–103.Find this resource:

Cohn, Richard, and Douglas Dempster. “Hierarchical Unity, Plural Unities.” In Disciplining Music: Musicology and Its Canons, ed. Katherine Bergeron and Philip Bohlman, 156–181. Chicago: University of Chicago Press, 1992.Find this resource:

Cook, Nicholas. “Epistemologies of Music Theory.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 78–105. Cambridge: Cambridge University Press, 2000.Find this resource:

Cook, Robert C. “Parsimony and Extravagance.” Journal of Music Theory 49.1 (2005): 109–140.Find this resource:

——— . “Transformational Approaches to Romantic Harmony and the Late Works of César Franck.” Ph.D. diss., University of Chicago, 2001.Find this resource:

——— . “Voice Leading, a Non-Commutative Group, and the Double Reprise in Franck's Piano Quintet.” Paper presented at the annual meeting of the Society for Music Theory, 1998.Find this resource:

Cramer, Albert. “Music for the Future: Sounds of Early-Twentieth-Century Psychology and Language in Works of Schoenberg, Webern, and Berg, 1908 to the First World War.” Ph.D. diss., University of Pennsylvania, 1997.Find this resource:

Dahlhaus, Carl. Between Romanticism and Modernism: Four Studies in the Music of the Later Nineteenth Century. Translated by Mary Whittall. California Studies in 19th-Century Music 1. Berkeley: University of California Press, 1980.Find this resource:

——— . Die Geschichte der Musiktheorie im 18. und 19. Jahrhundert, Zweiter Teil. Darmstadt: Wissenschaftliche Buchgesellschaft, 1989.Find this resource:

——— . Studies on the Origins of Harmonic Tonality. Translated by Robert Gjerdingen. Princeton: Princeton University Press, 1990.Find this resource:

——— . “Terminologisches zum Begriff der harmonischen Funktion.” Die Musikforschung 28.2 (1975): 197–202.Find this resource:

——— . “Über den Begriff der tonalen Funktion.” In Beiträge zur Musiktheorie des 19. Jahrhunderts, ed. Martin Vogel, 93–102. Regensburg: Gustav Bosse, 1966.Find this resource:

——— . “Über einige theoretische Voraussetzungen der musikalischen Analyse.” In Bericht über den 1. Internationalen Kongreß für Musiktheorie, ed. Peter Rummenhöller, Friedrich Christoph Reininghaus, and Habakuk Traber, 153–176. Stuttgart: Ichtys, 1972.Find this resource:

de la Motte, Diether. A Study of Harmony: An Historical Perspective. Translated by Jeffrey L. Prater. Dubuque: W. C. Brown, 1991.Find this resource:

De la Motte-Haber, Helga. “Musikalische Logik: Über das System von Hugo Riemann.” In Musiktheorie, ed. Helga de la Motte-Haber and Oliver Schwab-Felisch, 203–223. Laaber: Laaber, 2004.Find this resource:

(p. 586) Dempster, Douglas, and Matthew Brown. “Evaluating Musical Analyses and Theories: Five Perspectives.” Journal of Music Theory 34.2 (1990): 247–279.Find this resource:

Diergarten, Felix. “Riemann-Rezeption und Reformpädagogik: Der Musiktheoretiker Johannes Schreyer.” Zeitschrift der Gesellschaft für Musiktheorie, Bd. 2.1 (2005).Find this resource:

Douthett, Jack, and Peter Steinbach. “Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition.” Journal of Music Theory 42.2 (1998): 241–263.Find this resource:

Drobisch, Moritz W. Nachträge zur Theorie der musikalischen Tonverhältnisse. Leipzig: Hirzel, 1855.Find this resource:

——— . Über die mathematische Bestimmung der musikalischen Intervalle. Leipzig: Wiedmann, 1846.Find this resource:

——— . Über musikalische Tonbestimmung und Temperatur. Leipzig: Wiedmann, 1852.Find this resource:

Ellis, Alexander. “On the Musical Scales of Various Nations.” Journal of the Society of Arts 33 (1885): 485–527.Find this resource:

Engebretsen, Nora. “The Chaos of Possibilities: Combinatorial Group Theory in Nineteenth-Century German Harmony Treatises.” Ph.D. diss., State University of New York at Buffalo, 2002.Find this resource:

Ergo, Emil. “Die Taktlehre der Tonkunst.” Zeitschrift der IMG (1911): 180–188.Find this resource:

——— . Richard Wagner's Harmonik und Melodik: Ein Beitrag zur Wagnerschen Harmonik. Leipzig: Breitkopf und Härtel, 1914.Find this resource:

Ernst, Anselm, and Wolfgang Rüdiger. “Reformtendenzen in der Musikpädagogik (1900–1933): Resümee und Ausblick auf die Gegenwart.” In Visionen und Aufbrüche: Zur Krise der modernen Musik 1908–1933, ed. Günther Metz, 375–80. Kassel: G. Bosse, 1994.Find this resource:

Erpf, Hermann. Studien zur Harmonie- und Klangtechnik der neueren Musik. Leipzig: Breitkopf und Härtel, 1927.Find this resource:

Federhofer, Hellmut. Akkord und Stimmführung in den musiktheoretischen Systemen von Hugo Riemann, Ernst Kurth und Heinrich Schenker. Vienna: Veröffentlichungen der Akademie der Wissenschaften, 1977.Find this resource:

——— . “Die Funktionstheorie Hugo Riemanns und die Schichtenlehre Heinrich Schenkers.” In Bericht über den internationalen musikwissenschaftlichen Kongreß Wien, 1956, ed. Erich Schenk, 183–190. Graz-Cologne: Böhlau, 1958.Find this resource:

Fétis, François-Joseph. Traité complet de la théorie et de la pratique de l’harmonie contenant la doctrine de la science et de l’art. 4th ed. Paris: Brandus, 1849.Find this resource:

Fink, Robert. “Going Flat.” In Rethinking Music, ed. Nicholas Cook and Mark Everist, 102–137. Oxford: Oxford University Press, 1999.Find this resource:

Fortlage, Carl. Das musikalische System der Griechen in seiner Urgestalt. Aus den Tonleitern des Alypius, zum ersten Male entwickelt. Leipzig: Breitkopf und Härtel, 1847.Find this resource:

Foucault, Michel. The Order of Things. New York: Vintage Books, 1970.Find this resource:

Gabriel, Gottfried. “Frege, Lotze, and the Continental Roots of Early Analytic Philosophy.” In From Frege to Wittgenstein: Perspectives on Early Analytic Philosophy, ed. Erich H. Reck, 39–51. Oxford: Oxford University Press, 2002.Find this resource:

Gelbart, Matthew. Invention of Folk Music and Art Music. Cambridge: Cambridge University Press, 2007.Find this resource:

Girard, Aaron. “Music Theory in the American Academy.” Ph.D. diss., Harvard University, 2007.Find this resource:

Gjerdingen, Robert O. “Apparent Motion in Music?” Music Perception 11.4 (1994): 335–370.Find this resource:

Gollin, Edward. “Representations of Space and Conceptions of Distance in Transformational Theories.” Ph.D. diss., Harvard University, 2000.Find this resource:

(p. 587) ——— . “Review of Hugo Riemann (1849–1919): Leben, Werk und Wirkung.” Journal of the American Musical Society 56.1 (2003): 192–198.Find this resource:

——— . “Some Aspects of Three-Dimensional Tonnetze.” Journal of Music Theory 42.2 (1998): 195–206.Find this resource:

——— . “Some Further Notes on the History of the Tonnetz.” Theoria 13 (2006): 99–111.Find this resource:

——— . “Some Unusual Transformations in Bartók's ‘Minor Seconds, Major Sevenths.’ ” Intégral 12 (1998): 25–51.Find this resource:

Grabner, Hermann. Die Funktionstheorie Hugo Riemanns und ihre Bedeutung für die praktische Analyse. Munich: O. Halbreiter, 1923.Find this resource:

——— . Lehrbuch der musikalischen Analyse. Leipzig: C. F. Kahnt, 1926.Find this resource:

Guck, Marion A. “Analytical Fictions.” Music Theory Spectrum 16.2 (1994): 217–230.Find this resource:

——— . “Rehabilitating the Incorrigible.” In Theory, Analysis and Meaning in Music, ed. Anthony Pople, 57–73. Cambridge: Cambridge University Press, 1994.Find this resource:

Gurlitt, Willibald. “Hugo Riemann (1849–1919).” Veröffentlichungen der Akademie der Wissenschaften und der Literatur, Mainz: Abhandlungen der geistes- und sozialwissenschaftlichen Klasse 25 (1950): 1865–1901.Find this resource:

Halm, August. Harmonielehre. Leipzig: Breitkopf und Härtel, 1900.Find this resource:

Hanninen, Dora A. “A Theory of Recontextualization in Music: Analyzing Phenomenal Transformations of Repetition.” Music Theory Spectrum 25.1 (2003): 59–97.Find this resource:

Harrison, Daniel. “Dissonant Tonics and Post-Tonal Tonality.” Paper read at the meeting of the Music Theory Society of New York State, 2002.Find this resource:

——— . Harmonic Function in Chromatic Music: A Renewed Dualist Theory and an Account of Its Precedents. Chicago: University of Chicago Press, 1994.Find this resource:

——— . “Nonconformist Notions of Nineteenth-Century Enharmonicism.” Music Analysis 21.2 (2002): 115–160.Find this resource:

——— . “Supplement to the Theory of Augmented Sixth Chords.” Music Theory Spectrum 17.2 (1995): 170–195.Find this resource:

Hartmann, Günther. Karg-Elerts Harmonologik: Vorstufen und Stellungnahmen. Bonn: Orpheus, 1999.Find this resource:

Hasel, Johann Emmerich. Die Grundsätze des Harmoniesystems. Vienna: Kratochwill, 1892.Find this resource:

Hauptmann, Moritz. Die Lehre von der Harmonik. Leipzig: Breitkopf und Härtel, 1868.Find this resource:

——— . Die Natur der Harmonik und der Metrik. Leipzig: Breitkopf und Härtel, 1853. Translated by W. E. Heathcote as The Nature of Harmony and Metre (Reprint, New York: Da Capo Press, 1991).Find this resource:

Heidenreich, Achim. “‘Die Ungeheuerlichkeit dieser Art Hermeneutik’: Ein Disput zwischen Hugo Riemann und Hermann Kretzschmar.” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch, ed. Tatjana Böhme-Mehner and Klaus Mehner, 153–157. Cologne: Böhlau, 2001.Find this resource:

Helmholtz, Hermann. Die Lehre von den Tonempfindungen. 4th ed. Braunschweig: Vieweg und Sohn, 1877. Translated by A. J. Ellis as On the Sensations of Tone as a Physiological Basis for the Theory of Music (Reprint, New York: Dover, 1954).Find this resource:

——— . “The Facts in Perception.” [1878]. In Science and Culture: Popular and Philosophical Essays, ed. David Cahan, 342–80. Chicago: University of Chicago Press, 1995.Find this resource:

——— . “On the Interaction of the Natural Forces.” [1854]. In Science and Culture: Popular and Philosophical Essays, ed. David Cahan, 96–126. Chicago: University of Chicago Press, 1995.Find this resource:

——— . “On the Physiological Causes of Harmony in Music.” [1857]. In Science and Culture: Popular and Philosophical Essays, ed. David Cahan, 46–75. Chicago: University of Chicago Press, 1995.Find this resource:

(p. 588) Hindemith, Paul. Unterweisung im Tonsatz. Mainz: Schott, 1937.Find this resource:

Holtmeier, Ludwig. “Der Tristanakkord und die Neue Funktionstheorie.” Musiktheorie 17 (2002): 361–365.Find this resource:

——— . “From ‘Musiktheorie’ to ‘Tonsatz’: National Socialism and German Music Theory after 1945.” Music Analysis 2/3 (2004): 245–266.Find this resource:

——— . “Grundzüge der Riemann-Rezeption.” In Musiktheorie, ed. Helga de la Motte-Haber and Oliver Schwab-Felisch, 230–262. Laaber: Laaber, 2005.Find this resource:

——— . “Heinichen, Rameau and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave.” Journal of Music Theory 51.1 (2007): 5–49.Find this resource:

——— . “Ist die Funktionslehre am Ende?” Tijdschrift voor Muziektheorie 5 (1999): 72–77.Find this resource:

Hook, Julian. “Cross-Type Transformations and the Path-Consistency Condition.” Music Theory Spectrum 29.1 (2007): 1–39.Find this resource:

——— . “Uniform Triadic Transformations.” Journal of Music Theory 46.1/2 (2002): 57–126.Find this resource:

Hostinský, Ottokar. Die Lehre von den musikalischen Klängen. Prague: H. Dominicus, 1879.Find this resource:

Hull, A. Eaglefield. Modern Harmony: Its Explanation and Application. London: Augener, 1915.Find this resource:

Hunt, Graham G. “When Chromaticism and Diatonicism Collide: A Fusion of Neo-Riemannian and Tonal Analysis Applied to Wagner's Motives.” Journal of Schenkerian Studies 2 (1997): 1–32.Find this resource:

Hyer, Brian. “Chopin and the in-F-able.” In Musical Transformation and Musical Intuition: Eleven Essays in Honor of David Lewin, ed. Raphael E. Atlas and Michael Cherlin, 147–166. Roxbury, MA: Overbird Press, 1994.Find this resource:

——— . “Reimag(in)ing Riemann.” Journal of Music Theory 39.1 (1995): 101–138.Find this resource:

——— . “ ‘Sighing Branches’: Prosopopoeia in Rameau's Pigmalion.” Music Analysis 13.1 (1994): 7–20.Find this resource:

——— . “Tonal Intuitions in Tristan und Isolde.” Ph.D., diss., Yale University, 1989.Find this resource:

——— . “Tonality.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 726–752. Cambridge: Cambridge University Press, 2002.Find this resource:

Imig, Renate. Systeme der Funktionsbezeichnung in den Harmonielehren seit Hugo Riemann. Düsseldorf: Verlag zur Förderung der systematischen Musikwissenschaft, 1970.Find this resource:

Jonquière, Alfred. Grundriss der musikalischen Akustik. Leipzig: Th. Grieben, 1898.Find this resource:

Judd, Cristle Collins. “The Dialogue of Past and Present: Approaches to Historical Music Theory.” Intégral 14/15 (2000–2001): 56–63.Find this resource:

Kim, Youn. “Theories of Musical Hearing, 1863–1931: Helmholtz, Stumpf, Riemann and Kurth in Historical Context.” Ph.D. diss., Columbia University, 2003.Find this resource:

Kinderman, William, and Harald Krebs, eds. The Second Practice of Nineteenth Century Tonality. Lincoln: University of Nebraska Press, 1996.Find this resource:

Kirnberger, Johann Philipp. The Art of Strict Musical Composition. Translated by David Beach and Jürgen Thym. New Haven: Yale University Press, 1982.Find this resource:

Kirsch, Ernst. Wesen und Aufbau der Lehre von den harmonischen Funktionen: Ein Beitrag zur Theorie der Relationen der musikalische Harmonie. Leipzig: Breitkopf und Härtel, 1928.Find this resource:

Klumpenhouwer, Henry. “Dualist Tonal Space and Transformation in Nineteenth-Century Musical Thought.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 456–476. Cambridge: Cambridge University Press, 2002.Find this resource:

——— . “In Order to Stay Asleep as Observers: The Nature and Origins of Anti-Cartesianism in Lewin's Generalized Musical Intervals and Transformations.” Music Theory Spectrum 28.2 (2006): 277–289.Find this resource:

(p. 589) ——— . “Remarks on American Neo-Riemannian Theory.” Tijdschrift voor Muziektheorie 5 (2000): 155–169.Find this resource:

——— . “Some Remarks on the Use of Riemann Transformations.” Music Theory Online 0.9 (1994).Find this resource:

Koch, Heinrich. Musikalisches Lexikon. 1802. Facsimile reprint, Kassel: Bärenreiter, 2001.Find this resource:

Kopp, David. Chromatic Transformations in Nineteenth-Century Music. Cambridge: Cambridge University Press, 2002.Find this resource:

——— . “A Comprehensive Theory of Mediant Relations in Mid-Nineteenth-Century Music.” Ph.D. diss., Brandeis University, 1995.Find this resource:

Kraushaar, Otto. Der accordliche Gegensatz und die Begründung der Skala. Kassel: C. Luckhardt, 1852.Find this resource:

Krebs, Harald. “Alternatives to Monotonality in Early Nineteenth-Century Music.” Journal of Music Theory 25 (1981): 1–16.Find this resource:

——— . “Third Relation and Dominant in Late 18th- and 19th-Century Music.” Ph.D. diss., Yale University, 1980.Find this resource:

Krehl, Stephan. Allgemeine Musiklehre. Leipzig: Göschen, 1904.Find this resource:

——— . Harmonielehre [Tonalitätslehre]. Leipzig: Vereinigung wissenschaftlicher Verleger, 1922.Find this resource:

Krones, Hartmut. “Hugo Riemanns Überlegungen zu Phrasierung und Artikulation.” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch, ed. Tatjana Böhme-Mehner and Klaus Mehner, 93–115. Cologne: Böhlau, 2001.Find this resource:

Krumhansl, Carol. Cognitive Foundations of Musical Pitch. New York: Oxford University Press, 1990.Find this resource:

——— . “Perceived Triad Distance: Evidence Supporting the Psychological Reality of Neo-Riemannian Transformations.” Journal of Music Theory 42.2 (1998): 265–281.Find this resource:

Krumhansl, Carol, and Edward Kessler. “Tracing the Dynamic Changes in Perceived Tonal Organization in a Spatial Representation of Musical Keys.” Psychological Review 89 (1982): 334–368.Find this resource:

Kurth, Ernst. Bruckner, 2 vols. Berlin: M. Hesse, 1925.Find this resource:

——— . Die Voraussetzungen der theoretischen Harmonik und der tonalen Darstellungssysteme. Bern: Drechsel, 1913.Find this resource:

——— . Romantische Harmonik und ihre Krise in Wagners “Tristan.” Berlin: M. Hesse, 1920.Find this resource:

Lambert, Philip. “Isographies and Some Klumpenhouwer Networks They Involve.” Music Theory Spectrum 24.2 (2002): 165–195.Find this resource:

Lenoir, Timothy. Instituting Science: The Cultural Production of Scientific Disciplines. Stanford: Stanford University Press, 1997.Find this resource:

——— . The Strategy of Life: Teleology and Mechanics in Nineteenth-Century German Biology. Chicago: University of Chicago Press, 1982.Find this resource:

Lerdahl, Fred. “Tonal Pitch Space.” Music Perception 5.3 (1988): 315–349.Find this resource:

——— . Tonal Pitch Space. New York: Oxford University Press, 2001.Find this resource:

Lester, Joel. “Rameau and Eighteenth-Century Harmonic Theory.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 753–777. Cambridge: Cambridge University Press, 2002.Find this resource:

Lewin, David. “Amfortas's Prayer to Titurel and the Role of D in Parsifal: The Tonal Spaces of the Drama and the Enharmonic C♭/B.” 19th-Century Music 7.3 (1984): 336–349. Reprinted in Lewin, Studies in Music with Text, 183–200. New York: Oxford University Press, 2006.Find this resource:

——— . “Brahms, His Past, and Modes of Music Theory.” In Brahms Studies: Analytical and Historical Perspectives, ed. George S. Bozarth, 13–27. Oxford: Oxford University Press, 1990.Find this resource:

(p. 590) ——— . “A Formal Theory of Generalized Tonal Functions.” Journal of Music Theory 26.1 (1982): 23–60.Find this resource:

——— . “Forte's Interval Vector, My Interval Function, and Regener's Common-Note Function.” Journal of Music Theory 21 (1977): 194–237.Find this resource:

——— . “Generalized Interval Systems for Babbitt's Lists, and for Schoenberg's String Trio.” Music Theory Spectrum 17.1 (1995): 81–118.Find this resource:

——— . Generalized Musical Intervals and Transformations. New Haven: Yale University Press, 1987. Reprint, New York: Oxford University Press, 2007.Find this resource:

——— . “Music Theory, Phenomenology, and Modes of Perception.” Music Perception 3 (Summer 1986): 327–392. Reprinted in Lewin, Studies in Music with Text, 53–108. New York: Oxford University Press, 2006.Find this resource:

——— . “Notes on the Opening of the Fs minor Fugue from WTC 1.” Journal of Music Theory 42.2 (1998): 235–239.Find this resource:

——— . “Some Notes on Analyzing Wagner: The Ring and Parsifal.” 19th-Century Music, 16.1 (1992): 49–58.Find this resource:

——— . “Some Problems and Resources of Music Theory.” Journal of Music Theory Pedagogy 5 (1991): 111–132.Find this resource:

——— . “Transformational Techniques in Atonal and Other Music Theories.” Perspectives of New Music 21.1–2 (Fall–Winter 1982/Spring–Summer 1983): 312–371.Find this resource:

——— . “Two Interesting Passages in Rameau's Traité de l’harmonie.” In Theory Only 4.3 (1978): 3–11.Find this resource:

Lochhead, Judith. “The Metaphor of Musical Motion: Is There an Alternative?” Theory and Practice 14/15 (1989–1990): 83–103.Find this resource:

London, Justin. “Some Non-Isomorphisms between Pitch and Time.” Journal of Music Theory 46.1/2 (2002): 127–51.Find this resource:

Longuet-Higgins, Christopher. “Letter to a Musical Friend.” Music Review 23 (1962): 244–248.Find this resource:

Lotze, Hermann. Geschichte der Ästhetik in Deutschland. Munich: J. G. Cotta, 1868.Find this resource:

Louis, Rudolf. Anton Bruckner. Berlin: G. Müller, 1904.Find this resource:

——— . Der Widerspruch in der Musik: Bausteine zu einer Ästhetik der Tonkunst auf realdialektischer Grundlage. Leipzig: Breitkopf und Härtel, 1893.Find this resource:

——— . “Unsere Harmonielehre.” Süddeutsche Monatshefte 3.2 (1906): 430–437.Find this resource:

——— . “Zu Hugo Riemanns Besprechung der Louis-Thuilleschen Harmonielehre.” Süddeutsche Monatshefte 4.1 (1907): 614–620.Find this resource:

Louis, Rudolf, and Ludwig Thuille. Harmonielehre. 4th ed. Stuttgart: C. Grüninger, 1913.Find this resource:

Maler, Wilhelm. Beitrag zur durmolltonalen Harmonielehre. Leipzig: F. E. C. Leukert, 1931.Find this resource:

Marvin, Elizabeth West. “Tonpsychologie and Musikpsychologie: Historical Perspectives on the Study of Music Perception.” Theoria 2 (1987): 59–84.Find this resource:

Maus, Fred Everett. “Music as Drama.” Music Theory Spectrum 10 (1988): 56–73.Find this resource:

Mayrberger, Carl. “Die Harmonik Richard Wagner's an den Leitmotiven des Vorspiels zu Tristan und Isolde erläutert.” Bayreuther Blätter 4 (1881): 169–180.Find this resource:

——— . Lehrbuch der musikalischen Harmonik. Pressburg/Leipzig: Gustav Heckenast, 1878.Find this resource:

McCreless, Patrick. “An Evolutionary Perspective on Nineteenth-Century Semitonal Relations.” In The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs, 87–113. Lincoln: University of Nebraska Press, 1996.Find this resource:

Mehner, Klaus. “Hugo Riemanns ‘Ideen zu einer Lehrer von den Tonvorstellungen.’” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalansprach, ed. Tatjana Böhme-Mehner and Klaus Mehner, 49–57. Cologne: Böhlau Verlag, 2001.Find this resource:

(p. 591) Mickelsen, W. C. Hugo Riemann's Theory of Harmony with a Translation of Riemann's “History of Music Theory,” Book 3. Lincoln: University of Nebraska Press, 1977.Find this resource:

Miller, Horace Alden. New Harmonic Devices: A Treatise on Modern Harmonic Problems. Philadelphia: Oliver Ditson, 1930.Find this resource:

Mooney, Michael Kevin. “Musical Logic: A Contribution to the Theory of Music.” Journal of Music Theory 44.1 (2000): 100–126.Find this resource:

——— . “Riemann's Debut as a Music Theorist.” Journal of Music Theory 44.1 (2000): 81–99.Find this resource:

——— . “The ‘Table of Relations’ and Music Psychology in Hugo Riemann's Harmonic Theory.” Ph.D. diss., Columbia University, 1996.Find this resource:

Morris, Robert D. “Set Groups, Complementation, and Mappings among Pitch-Class Sets.” Journal of Music Theory 26 (1982): 101–144.Find this resource:

Nolan, Catherine. “Combinatorial Space in Nineteenth- and Early Twentieth-Century Music Theory.” Music Theory Spectrum, 25.2 (2003): 205–241.Find this resource:

——— . “Music Theory and Mathematics.” In The Cambridge History of Western Music Theory, ed. Thomas Christensen, 272–304. Cambridge: Cambridge University Press, 2002.Find this resource:

Nowak, Adolf. “Wandlungen des Begriffs ‘musikalische Logik’ bei Hugo Riemann.” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalansprach, ed. Tatjana Böhme-Mehner and Klaus Mehner, 38–43. Cologne: Böhlau Verlag, 2001.Find this resource:

O’Donnell, Shaugn. “Klumpenhouwer Networks, Isography, and the Molecular Metaphor.” Intégral 12 (1998): 53–80.Find this resource:

Oettingen, Arthur von. Harmoniesystem in dualer Entwickelung. Dorpat: Glaser, 1866.Find this resource:

Pearce, Trevor. “Tonal Functions and Active Synthesis: Hugo Riemann, German Psychology, and Kantian Epistemology.” Intégral 22 (2008): 81–116.Find this resource:

Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice. New York: W. W. Norton, 1961.Find this resource:

Ploeger, Roland. “Zum Problem Monismus-Dualismus.” In Studien zur systematischen Musiktheorie, 2nd ed. Eutin: Petersen-Mickelsen, 2002.Find this resource:

Polak, A. J. Über Tonrhythmik und Stimmenführung. Leipzig: Breitkopf und Härtel, 1902.Find this resource:

——— . Über Zeiteinheit in Bezug auf Konsonanz, Harmonie, und Tonalität. Leipzig: Breitkopf und Härtel, 1900.Find this resource:

Proctor, Gregory. “Review of The Second Practice of Nineteenth-Century Tonality.” Music Theory Spectrum 21.1 (1999): 131–39.Find this resource:

——— . “Technical Bases of Nineteenth-Century Chromatic Tonality: A Study in Chromaticism.” Ph.D. diss., Princeton University, 1978.Find this resource:

Rameau, Jean Philippe. Génération harmonique. Paris: Chez Prault fils, 1737.Find this resource:

——— . Traité de l’harmonie. Paris, 1722. Translated by Philip Gossett as Treatise on Harmony (New York: Dover, 1971).Find this resource:

Rehding, Alexander. Hugo Riemann and the Birth of Modern Musical Thought. Cambridge: Cambridge University Press, 2003.Find this resource:

——— . “Review of Hugo Riemann (1849–1919): Leben, Werk und Wirkung.” Music Theory Spectrum 24.2 (2002): 283–293.Find this resource:

——— . “Wax Cylinder Revolutions.” Musical Quarterly 88.1 (2005): 123–160.Find this resource:

Richter, Ernst Friedrich. Lehrbuch der Harmonie. Leipzig: Breitkopf und Härtel, 1853.Find this resource:

Riemann, Hugo (pseudonym Hugibert Ries). “Musikalische Logik” [1872]. In Präludien und Studien (Reprint, Hildesheim: Georg Olms, 1967), 3: 1–22.Find this resource:

Riemann, Hugo. Beethovens Streichquartette erläutert von Hugo Riemann. Berlin: Schlesinger, 1910.Find this resource:

(p. 592) ——— . “Das Problem des harmonischen Dualismus.” Neue Zeitschrift für Musik 72 (1905): 3–5, 23–26, 43–46, 67–70.Find this resource:

——— . “Degeneration und Regeneration in der Musik.” Max Hesses deutscher Musikerkalender 23 (1908): 136–138. Reprinted in ‘Die Konfusion in der Musik’: Felix Draesekes Kampfschrift von 1906 und die Folgen, ed. Susanne Shigihara, 245–249. Bonn: Gudrun Schröder, 1990.Find this resource:

——— . Die Hülfsmittel der Modulationslehre. Cassel: Luckhardt, 1875.Find this resource:

——— . “Die Musik seit Wagners Heimgang: Ein Totentanz.” [1897]. In Präludien und Studien (Reprint, Hildesheim: Georg Olms, 1967), 2: 33–41.Find this resource:

——— . “Die Natur der Harmonik.” Sammlung musikalische Vorträge 4.40. Leipzig: Breitkopf und Härtel (1882): 157–190.Find this resource:

——— . “Die Neugestaltung der Harmonielehre.” Musikalisches Wochenblatt 22 (1891): 513–514, 529–531, 541–543.Find this resource:

——— . “Die objective Existenz der Untertöne in der Schallwelle.” Allgemeine Musikzeitung 2 (1875): 205–206, 213–215.Find this resource:

——— . “Die Phrasierung im Lichte einer Lehre von den Tonvorstellungen.” Zeitschrift für Musikwissenschaft 1 (1918): 26–38.Find this resource:

——— . “Die Taktfreiheiten in Brahms’ Liedern.” Die Musik 12.1 (October 1912): 10–21.Find this resource:

——— . “Eine musikalische Tagesfrage.” Musikalisches Wochenblatt 13 (1882): 465–466, 477–479, 489–490, 501–502, 513–515, 529–531, 553–555, 569–570, 593–594, 617–619. Reprinted as “Das chromatische Tonsystem.” In Präludien und Studien (Reprint, Hildesheim: Georg Olms, 1967), 1: 183–219.Find this resource:

——— . “Eine neue Harmonielehre: Harmonielehre von Rudolf Louis u. Ludwig Thuille.” Süddeutsche Monatshefte 4.1 (1907): 500–504.Find this resource:

——— . Elementar-Schulbuch der Harmonielehre. Berlin: Max Hesse, 1906.Find this resource:

——— . Elemente der musikalischen Ästhetik. Berlin and Stuttgart: W. Spemann, 1900.Find this resource:

——— . “Exotische Musik.” Max Hesses Musikerkalender 21 (1906): 135–137.Find this resource:

——— . Folkloristische Tonalitätsstudien. Leipzig: Breitkopf und Härtel, 1916.Find this resource:

——— . Geschichte der Musik seit Beethoven (1800–1900). Berlin: W. Spemann, 1901.Find this resource:

——— . Geschichte der Musiktheorie im IX.–XIX. Jahrhundert. Leipzig: Max Hesse, 1898.Find this resource:

——— . Geschichte der Notenschrift. Leipzig: Breitkopf & Härtel, 1878.Find this resource:

——— . Große Kompositionslehre, 3 vols. Berlin and Stuttgart: W. Spemann, 1902–03.Find this resource:

——— . Grundriß der Kompositionslehre, 3rd rev. ed. Leipzig: Max Hesse, 1905.Find this resource:

——— . Grundriß der Musikwissenschaft. 4th ed. Leipzig: Quelle und Meyer, 1908.Find this resource:

——— . Handbuch der Harmonielehre (Zweite, vermehrte Auflage der “Skizze einer neuen Methode der Harmonielehre). Leipzig: Breitkopf und Härtel, 1887. Subsequent editions in 1898, 1906, 1912, 1917.Find this resource:

——— . Handbuch der Musikgeschichte. Leipzig: Breitkopf und Härtel, 1904.Find this resource:

——— . “Hie Wagner! Hie Schumann!” [1880]. In Präludien und Studien (Reprint, Hildesheim: Georg Olms, 1967), 3: 204–214.Find this resource:

——— . “Ideen zu einer ‘Lehre von den Tonvorstellungen.’” Jahrbuch der Musikbibliothek Peters 21–22 (1914–1915): 1–26.Find this resource:

——— . Katechismus der Akustik. Berlin: Max Hesse, 1891.Find this resource:

——— . Katechismus der Kompositionslehre. Berlin: Max Hesse, 1889.Find this resource:

——— . Katechismus der Musikwissenschaft. Berlin: Max Hesse, 1891.Find this resource:

——— . L. van Beethovens sämtliche Klavier-Solosonaten: Ästhetik und formal-technische Analyse mit historischen Notizen, 2nd ed. Berlin: Hesse, 1919.Find this resource:

——— . Musikalische Dynamik und Agogik. Hamburg: D. Rahter, 1884.Find this resource:

——— . Musikalische Logik: Hauptzüge der physiologischen und psychologischen Begründung unseres Musiksystems. Leipzig: Kahnt, 1874.Find this resource:

(p. 593) ——— . Musikalische Syntaxis: Grundriß einer harmonischen Satzbildungslehre. Leipzig: Breitkopf und Härtel, 1877.Find this resource:

——— . Musik-Lexikon. Berlin: Max Hesse, 1882. Subsequent editions in 1884, 1887, 1894, 1900, 1905, 1909, 1916.Find this resource:

——— . “Neue Beiträge zu einer Lehre von den Tonvorstellungen.” Jahrbuch der Musikbibliothek Peters (1916): 1–21.Find this resource:

——— . Neue Schule der Melodik. Hamburg: K. Grädener, 1883.Find this resource:

——— . Sechs original Japanische und Chinesische Melodien. Leipzig: Breitkopf und Härtel, 1903.Find this resource:

——— . Skizze einer neuen Methode der Harmonielehre. Leipzig: Breitkopf und Härtel, 1880.Find this resource:

——— . Systematische Modulationslehre als Grundlage der musikalischen Formenlehre. Hamburg: Richter, 1887.Find this resource:

——— . System der musikalischen Rhythmik und Metrik. Leipzig: Breitkopf und Härtel, 1903.Find this resource:

——— . “Über Japanische Musik.” Musikalisches Wochenblatt 33 (1902): 209–210, 229–231, 245–246, 257–259, 273–274, 289–290.Find this resource:

——— . “Ueber das musikalische Hören.” Dr. phil. diss., Göttingen University, 1873. Published Leipzig: Andrä, 1874.Find this resource:

——— . Vademecum der Phrasierung, 2nd rev. ed. Berlin: Max Hesse, 1906.Find this resource:

——— . Vereinfachte Harmonielehre; oder, Die Lehre von den tonalen Funktionen der Akkorde. London: Augener, 1893. Translated by Henry Bewerunge as Harmony Simplified, or The Theory of Tonal Functions of Chords (London: Augener, 1895).Find this resource:

——— . “Was ist Dissonanz?” Max Hesses deutscher Musiker-Kalender 13 (1898): 145–151. Reprinted as “Zur Theorie der Konsonanz und Dissonanz.” In Präludien und Studien (Reprint, Hildesheim: Georg Olms, 1967), 3: 31–46.Find this resource:

Rimsky-Korsakov, N. Practical Manual of Harmony. Translated by J. Achron. New York: Carl Fischer, 1930.Find this resource:

Rings, Steven. “Perspectives on Tonality and Transformation in Schubert's Impromptu in E♭, D. 899, no. 2.” Journal of Schenkerian Studies 2 (2007): 33–63.Find this resource:

——— . “Tonality and Transformation.” Ph.D. diss., Yale University, 2006.Find this resource:

Rothfarb, Lee Allen. Ernst Kurth as Theorist and Analyst. Philadelphia: University of Pennsylvania Press, 1988.Find this resource:

Rummenhöller, Peter. “Die fluktuierende Theoriebegriff Riemanns.” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalansprach, ed. Tatjana Böhme-Mehner and Klaus Mehner, 31–36. Cologne: Böhlau Verlag, 2001.Find this resource:

——— . “Moritz von Hauptmann, der Begründer einer transzendental-dialektischen Musiktheorie.” In Beiträge zur Musiktheorie im neunzehnten Jahrhundert, ed. Martin Vogel, 11–36. Regensburg: Gustav Bosse, 1966.Find this resource:

Santa, Matthew. “Nonatonic Systems and the Parsimonious Interpretation of Dominant-Tonic Progressions.” Theory and Practice 28 (2003): 1–28.Find this resource:

Saslaw, Janna. “The Role of Body-Derived Image Schemas in the Conceptualization of Music.” Journal of Music Theory 40 (1996): 217–243.Find this resource:

Saslaw, Janna K., and James P. Walsh. “Musical Invariance as a Cognitive Structure: ‘Multiple Meaning’ in the Early Nineteenth Century.” In Music Theory in the Age of Romanticism, ed. Ian Bent, 211–232. Cambridge: Cambridge University Press, 1996.Find this resource:

Schenker, Heinrich. Harmony. Edited by Oswald Jonas. Translated by Elisabeth Mann Borgese. Chicago: University of Chicago Press, 1954. Originally published as Harmonielehre (Stuttgart: Cotta, 1906).Find this resource:

Schillings, Max. “Besprechung der Harmonielehre von Rudolf Louis und Ludwig Thuille.” Die Musik 23 (1906–1907): 365–369.Find this resource:

Schinköth, Thomas, ed. Sigfrid Karg-Elert und seine Leipziger Schüler. Hamburg: von Bockel, 1999.Find this resource:

(p. 594) Schmidt, Matthias. “Syntax und System: Brahms’ Taktbehandlung in der Kritik Hugo Riemanns.” Studien zur Musikwissenschaft: Beihefte der Denkmäler der Tonkunst in Österreich 48 (2002): 413–438.Find this resource:

Schmitz, Eugen. Harmonielehre als Theorie, Ästhetik und Geschichte der musikalischen Harmonik. Kempten/Munich: J. Kösel, 1911.Find this resource:

Schoenberg, Arnold. Harmonielehre. 3rd ed. Vienna: Universal Edition, 1922.Find this resource:

——— . Structural Functions of Harmony Rev. ed. New York: W. W. Norton, 1969.Find this resource:

Schreyer, Johannes. Harmonielehre: Völlig umgearbeitete Ausgabe der Schrift ‘Von Bach bis Wagner.’ Dresden: Holze und Pahl, 1905.Find this resource:

——— . Von Bach bis Wagner: Ein Beitrag zur Psychologie des Musikhörens. Dresden: Holze und Pahl, 1903.Find this resource:

Scruton, Roger. The Aesthetics of Music. Oxford: Oxford University Press, 1997.Find this resource:

Sechter, Simon. Die Grundsätze der musikalischen Komposition: Erste Abtheilung: Die richtige Folge der Grundharmonien oder vom Fundamentalbass und dessen Umkehrungen und Stellvertretern. Leipzig: Breitkopf und Härtel, 1853.Find this resource:

Seebeck, August. “Ueber Klirrtöne.” Annalen der Physik und Chemie, n.s., 10 (1837): 539–547.Find this resource:

Seidel, Elmar. “Die Harmonielehre Hugo Riemanns.” In Beiträge zur Musiktheorie im 19. Jahrhundert, ed. Martin Vogel, 39–92. Regensburg: Gustav Bosse, 1966.Find this resource:

Seidel, Wilhelm. “Riemann und Beethoven.” In Hugo Riemann (1849–1919): Musikwissenschaftler mit Universalanspruch, ed. Tatjana Böhme-Mehner and Klaus Mehner, 139–151. Cologne: Böhlau Verlag, 2001.Find this resource:

——— . Über Rhythmustheorien der Neuzeit. Bern: Francke, 1975.Find this resource:

Shirlaw, Matthew. The Theory of Harmony: An Inquiry into the Natural Principles of Harmony, with an Explanation of the Chief Systems of Harmony from Rameau to the Present Day. Reprint, New York: Da Capo Press, 1969.Find this resource:

Siciliano, Michael. “Neo-Riemannian Transformations and the Harmony of Franz Schubert.” Ph.D. diss., University of Chicago, 2002.Find this resource:

——— . “Two Neo-Riemannian Analyses.” College Music Symposium 45 (2005): 81–107.Find this resource:

Smith, Charles J. “The Functional Extravagance of Chromatic Chords.” Music Theory Spectrum 8 (1986): 94–139.Find this resource:

Snarrenberg, Robert. Schenker's Interpretive Practice. Cambridge Studies in Music Theory and Analysis 11. Cambridge: Cambridge University Press, 1997.Find this resource:

Spitzer, Michael. “The Metaphor of Musical Space.” Musicae Scientiae 7 (2003–2004): 101–118.Find this resource:

Steege, Benjamin. “Material Ears: Hermann von Helmholtz, Attention, and Modern Aurality.” Ph.D. diss., Harvard University, 2007.Find this resource:

Straus, Joseph N. “Voice Leading in Atonal Music.” In Music Theory in Concept and Practice, ed. David Beach, James M. Baker, and Jonathan W. Bernard, 237–274. Rochester: University of Rochester Press, 1997.Find this resource:

Stumpf, Carl. Tonpsychologie, 2 vols. Leipzig: S. Hirzel, 1883, 1890.Find this resource:

Thaler, Lotte. Organische Form in der Musiktheorie des 19. und beginnenden 20. Jahrhunderts. Munich and Salzburg: Emil Katzbichler, 1984.Find this resource:

Tiersch, Otto. Elementarbuch der musikalischen Harmonie- und Modulationslehre. 2nd ed. Berlin: Robert Oppenheimer, 1888.Find this resource:

Turner, R. Steven. “The Growth of Professorial Research in Prussia, 1818 to 1848: Causes and Context.” Historical Studies in the Physical Sciences 3 (1971): 137–182.Find this resource:

——— . “The Prussian Universities and the Concept of Research.” Internationales Archiv für Sozialgeschichte der Deutschen Literatur 5 (1980): 68–93.Find this resource:

(p. 595) ——— . “University Reformers and Professorial Scholarship in Germany, 1760–1806.” In The University in Society, ed. Lawrence Stone, 2: 495–531. Princeton: Princeton University Press, 1974.Find this resource:

Tymoczko, Dmitri. “The Geometry of Musical Chords.” Science 313 (2006): 72–74.Find this resource:

——— . “Key Signatures as Voice-Leadings.” Music Theory Online 11.4 (2005).Find this resource:

——— . “Progressions fondamentales, fonctions, degrés, une grammaire de l’harmonie tonale élémentaire.” Musurgia 10.3–4 (2003): 35–64.Find this resource:

——— . “Scale Theory, Serial Theory, and Voice Leading.” Music Analysis 27.1 (2008): 1–49.Find this resource:

Ulehla, Ludmila. Contemporary Harmony: Romanticism through the Twelve-Tone Row. New York: Free Press, 1966.Find this resource:

van Eycken, Heinrich. Harmonielehre. Leipzig: Hofmeister, 1911.Find this resource:

Vogel, Martin. On the Relations of Tone. Translated by V. Kisselbach. Bonn: Verlag für systematische Musikwissenschaft, 1993.Find this resource:

Waldbauer, Ivan F. “Riemann's Periodization Revisited and Revised.” Journal of Music Theory 33.2 (1989): 333–392.Find this resource:

Wason, Robert. Viennese Harmonic Theory from Albrechtsberger to Schenker and Schoenberg. Ann Arbor, MI: UMI Press, 1985.Find this resource:

Wason, Robert, and Elizabeth West Marvin. “Riemann's ‘Ideen zu einer “Lehre von den Tonvorstellungen” ’: An Annotated Translation.” Journal of Music Theory 36.1 (1992): 69–117.Find this resource:

Weber, Gottfried. Theory of Musical Composition. Translated by James F. Warner. Boston: Wilkins and Carter, 1846.Find this resource:

Weitzmann, Carl Friedrich. Der übermäßige Dreiklang. Berlin: T. Trautwein, 1853. Translated by Janna K. Saslaw in “Two Monographs by Carl Friedrich Weitzmann. I: The Augmented Triad (1853),” Theory and Practice 29 (2004): 133–228.Find this resource:

Wetzel, Hermann. Elementartheorie der Musik: Einführung in die Theorie der Melodik, Harmonik, Rhythmik und der musikalischen Formen- und Vortragslehre. Leipzig: Breitkopf und Härtel, 1911.Find this resource:

Zbikowski, Lawrence. “The Blossoms of ‘Trockne Blumen’: Music and Text in the Early Nineteenth Century.” Music Analysis 18 (1999): 307–345.Find this resource:

——— . Conceptualizing Music: Cognitive Structure, Theory, and Analysis. New York: Oxford University Press, 2002.Find this resource:

——— . “Large-Scale Rhythm and Systems of Grouping.” Ph.D. diss., Yale University, 1991.Find this resource:

Ziehn, Bernhard. “Der Weise aus Großmehlra.” Allgemeine Musik-Zeitung 17 (1890): 355–561.Find this resource:

Zuckerkandl, Victor. Sound and Symbol: Music and the External World. Translated by W. R. Trask. Bollingen Series, vol. XLIV. Princeton: Princeton University Press, 1956.Find this resource: