- 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 examines Riemann's discussion of the Harmonieschritte within the Skizze, locating that discussion within a nineteenth-century combinatorial tradition shaped by Riemann's conception of key. In this article, Riemann's Harmonieschritte is examined from three neo-Riemann standpoints. The first section offers a short introduction to the Harmonieschritte and examines neo-Riemann theory's embrace of these relationships, emphasizing the conflation of functional relations and root-interval transformations that this embrace has entailed. The second section discusses the development of Riemann's system of Harmonieschritte despite of neo-Riemannian theorists's acknowledgement of the system's susceptibility to interpretation as a group of transformations on the consonant triads. The third section focuses on tonal coherence, with particular interest on Riemann's recognition that Harmonieschritte might portend the sort of harmonic practice embraced by neo-Riemannians if left unchecked. The article concludes with a translation of Riemann's Systematik der Harmonieschritte, the summary of the complete “chromatic” family of triadic relations from the Skizze.
Nora Engebretsen , an associate professor of music theory at Bowling Green State University, holds a Ph.D. in music theory from the State University of New York (SUNY) at Buffalo. Her research interests include chromatic harmony, transformational theory, and the history of theory. Her work has appeared in Music Theory Spectrum, Theoria, the Journal of Music Theory Pedagogy, and collections published by the University of Rochester Press and Stockholm University Press.
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