Hugo Riemann and the Birth of Modern Musical Thought (New by Alexander Rehding

By Alexander Rehding

Hugo Riemann (1849-1919) is mostly stated because the most crucial musicologist of his age. through studying his musical idea in the turn-of-the-century context of curiosity within the normal sciences, German nationhood and glossy expertise, this ebook reconstructs how Riemann's principles not just "made experience" yet complex a trust of the tonal culture as either typical and German. Riemann inspired the guidelines of generations of track students simply because his paintings coincided with the institutionalization of educational musicology round the flip of the final century.

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Riemann-Festschrift (Leipzig: Max Hesse, 1909), pp. 60–76. Modern discussions can be found in Suzannah Clark, ‘From Nature to Logic in Schubert’s Instrumental Music’, PhD dissertation (Princeton University, 1997); Daniel Harrison, Harmonic Function in Chromatic Music (Chicago and London: University of Chicago Press, 1994); Dale A. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, Music and Letters 44 (1963), pp. , The Cambridge History of Western Music Theory (Cambridge: Cambridge University Press, 2002), pp.

37. , Beethoven, Goethe und Europa: Almanach zum Internationalen Beethovenfest Bonn 1999 (Laaber: Laaber-Verlag, 1999), pp. , pp. 63–8. Jorgenson, ‘A R´esum´e of Harmonic Dualism’, p. 37. This definition is put forward, for instance, by Peter Rummenholler. ¨ See his ‘Moritz Hauptmann, der Begrunder ¨ einer transzendental-dialektischen Musiktheorie’, pp. 28–31. It is obvious that such revisionist attempts often go hand in hand with the desire to cleanse particular theorists from the taint of harmonic dualism and rehabilitate them as serious theorists.

Heathcote as The Nature of Harmony and Metre (reprint New York: Da Capo Press, 1991), p. xxxviii (translation modified). 23 The major triad was for Hauptmann the embodiment of the three dialectical moments in the simultaneously sounding elements. 24 All other intervals, he contended, were compounds of these three (the minor third, for instance, being the difference between the fifth and the major third). 3, as the product of these intervals in three dialectical steps: the octave (which here appears, at stage (I), as the unison) as the manifestation of unity and identity; the fifth (II), which Hauptmann heard with respect to (I) as a ‘hollow’ duality, and the synthetic third (III), which re-unites the opposed two components.

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