- 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 presents a key text in the transition of Riemann's argument from earlier theories and mature, psychological work. As a reference, the article also forms a link back to historical contexts already explored, and this article invokes figures such as Georg Capellen and Arthur von Oettingen—Riemann's contemporaries. In this article, Riemann is shown to summarize for one last time, the scope and ambitions of his dualistic theory and, implicitly and explicitly, he responds to his critics. As always, Riemann does not merely rework his earlier arguments but designs them in such way they adapt to the current situation and cover new ground by answering his critics.
Ian Bent is an emeritus professor of music of Columbia University and Honorary Professor in the History of Music Theory of Cambridge University, U.K. His publications include Analysis and Music Analysis in the Nineteenth Century; he has served as editor of Music Theory in the Age of Romanticism, and coeditor of the translations of Schenker's Meisterwerk and Tonwille. He is currently coordinator of the online edition of all Schenker's correspondence, diaries, and lesson books: Schenker Documents Online.
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