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We wish to thank the staff at the Eda Kuhn Loeb Music Library at Harvard University, the Sawyer Library at Williams College, and the Staatsbibliothek in Berlin for their assis­ tance. Wayne Alpern and the Mannes Institute-in particular the 2001 Institute on Historical Music Theory-were responsible for bringing together a number of the scholars whose work is here represented, and for sowing the seeds that eventually developed into the present book. Research support was provided by Harvard University, Williams College and the Oakley Center for the Humanities and So­ cial Sciences, the Newhouse Center at Wellesley College, the National Endowment for the Humanities, the American Council of Learned Societies, and the Guggenheim Foundation. Frank Lehman, Thomas Lin, and Rowland Moseley provided valuable assistance with the music examples.

We wish to thank Suzanne Ryan at Oxford University Press for her support and encouragement of this handbook, as well as the music editorial staff at Oxford for their careful work. In addition to the named contributors whose words and ideas fill these pages, the often less visible efforts of many others have made this volume possible. for their patience and understanding.Īcknowledgments The Oxford Handbook of Neo-Riemannian Music Theories Edited by Edward Gollin and Alexander Rehding Print Publication Date: Dec 2011 Subject: Music Online Publication Date: Sep 2012 The Oxford Handbook of Neo-Riemannian Music Theories MT6.O89 2011 781-dc22 2010017175 1 3 5 7 9 8 6 4 2 Printed in the United States of America on acid-free paperĭedication The Oxford Handbook of Neo-Riemannian Music Theories Edited by Edward Gollin and Alexander Rehding Print Publication Date: Dec 2011 Subject: Music Online Publication Date: Sep 2012 Includes bibliographical references and index. Library of Congress Cataloging-in-Publication Data The Oxford handbook of neo-Riemannian music theories / edited by Edward Gollin and Alexander Rehding. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press. Published by Oxford University Press, Inc. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2011 by Oxford University Press, Inc.

Oxford University Press, Inc., publishes works that further Oxford University's objective of excellence in research, scholarship, and education. The Oxford Handbook of Neo-Riemannian Music Theo­ ries The Oxford Handbook of Neo-Riemannian Music Theories Edited by Edward Gollin and Alexander Rehding Print Publication Date: Dec 2011 Subject: Music Online Publication Date: Sep 2012 The Oxford Handbook of Neo-Riemannian Music Theories Transformation, Analysis, CriticismĬhapter 18.: Riemannian Analytical Values, Paleo- and Neo-Ĭhapter 19.: Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's Le chasseur mauditĬhapter 20.: Three Short Essays on Neo-Riemannian Theory 31 Piano SonatasĬhapter 17.: Metric Freedoms in Brahms's Songs: A Translation and Commentary Chapter 1.: The Reception of Hugo Riemann's Music TheoryĬhapter 2.: The Nature of Harmony: A Translation and CommentaryĬhapter 4.: Riemann and Melodic Analysis: Studies in Folk-Musical TonalityĬhapter 5.: The Problem of Harmonic Dualism: A Translation and CommentaryĬhapter 6.: Harmonic Dualism as Historical and Structural ImperativeĬhapter 8.: Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal MusicĬhapter 9.: From Matrix to Map: Tonbestimmung, the Tonnetz, and Riemann's Combinatorial Conception of IntervalĬhapter 10.: On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564)Ĭhapter 11.: Tonal Pitch Space and the (neo-) Riemannian TonnetzĬhapter 12.: Neo-Riemannian Perspectives on the Harmonieschritte, with a Translation of Riemann's "Systematik der Harmonieschritte"Ĭhapter 13.: On a Transformational Curiosity in Riemann's Schematisirung der DissonanzenĬhapter 14.: Chromaticism and the Question of TonalityĬhapter 15.: Perspectives on Riemann's Mature Theory of MeterĬhapter 16.: Reading Between the Lines: Hugo Riemann and Beethoven's Op.