- 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 the role of key and function as a component of Riemann's relational harmonic system. It is argued in this article that while the neo-Riemannian abstraction of Riemann's Harmonieschritte offer certain insights into the nature of chromatic relations in the nineteenth-century music, it has also resulted in a view of harmonic relations uncomfortably divorced and separated from the tonal and functional contexts in which they were conceived. In addition to examining the role of key and function as component of Riemann's relational harmonic system, and chromaticism, the article also suggests how neo-Riemannian analysis can benefit by reconnecting Riemannian harmonic relations to the functional tonal contexts in which they arose, illustrating the recovered and renewed nineteenth-century perspective with analyses of music by Beethoven, Schubert, and Wolf.
David Kopp is an associate professor in the department of composition and theory at the Boston University School of Music. He is the author of Chromatic Transformations in Nineteenth-Century Music and articles in the Journal of Music Theory and Music Theory Online, among other publications. As a pianist, he has recorded for the New World Records, CRI, ARTBSN, and Arsis labels.
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