- 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 discusses Riemann's Folkloristische Tonalitätsstudien or “Studies in Folk-Musical Tonality”. While his study at a glance seemed to contradict his earlier beliefs on tonality as a natural and universal system, his study however, sought to reinforce the natural basis of the tonal system by looking and examining non-European repertoires. Riemann's Folkloristische Tonalitätsstudien is unique among his studies in that it is his only treatise that does not start out from the assumption of tonal triadic harmonies; instead, it approaches musical structures from a strictly melodic angle. In this article, the focus is on Riemann's melodic analysis and evolutionary history of scalar models. It focuses on his analysis of pentatonicism and tetrachords. In his Folkloristische Tonalitätsstudien, Riemann is generally careful not to commit to a chronology, but supplies instead heuristic links between structural stages. While his explanation of tetrachords as three-note fragments of pentatonic scales with infixed pien is historically doubtful, his study nevertheless allowed him to examine all scalar systems as combinations of these two principles. Thus, his study on folk music has been pressed into service to represent a middle ground between strict pentatonicism and modern diatonism.
Matthew Gelbart is an assistant professor of music in the department of art history and music at Fordham University. His research interests include eighteenth- and nineteenth- century music, how we label and sort the music we listen to, and rock music. He is the author of The Invention of “Folk Music” and “Art Music”: Emerging Categories from Ossian to Wagner.
Alexander Rehding teaches music at Harvard University. His interests are in the history of music theory and in nineteenth and twentieth century music. He is the author of Hugo Riemann and the Birth of Modern Musical Thought, Music and Monumentality, and Beethoven’s Symphony no. 9. He is the editor-in-chief of the Oxford Handbooks Online series in Music.
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