- 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 provides and introduction and translation of Riemann's “The Nature of Harmony”. The translation in this article provides an easy access to an important Riemann's own theoretical evolution, which was written at the moment when a budding psychological perspective was beginning to supersede Riemann's earlier acoustical and physiological perspective. Just as Riemann attempts to place his theoretical program within a historical trajectory, the article locates his work within the wider and broader historical and intellectual discourse of nineteenth-century physics, physiology, and psychology, highlighting the implied and overt polemics with Helmholtz and others that course through its pages.
Benjamin Steege is an assistant professor of the history and theory of music at Stony Brook University, with interests in the histories of music theory and science, and in early modernism. He is currently writing a book exploring the relationship of Hermann von Helmholtz to music theory and discourses of aurality.
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