Edward Gollin is Associate Professor of Music at Williams College. 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 and Music and Monumentality, and is co-editor of Acta musicologica.

This volume is of major importance to professional music theorists as well as musicians interested in the deep structure of chromatic tonal music. It is the most comprehensive set of neo-Riemannian analyses now available, conjoining, as it does, the historical Hugo Riemann with contemporary thought and techniques.

• Acknowledgments ; Preface ; Part I. Intellectual Contexts ; Chapter 1. The Reception of Hugo Riemann's Music Theory ; Ludwig Holtmeier ; Chapter 2. The Nature of Harmony: A Translation and Commentary ; Benjamin Steege ; Chapter 3. What is a Function? ; Brian Hyer ; Chapter 4. Riemann and Melodic Analysis: Studies in Folk-Musical Tonality ; Matthew Gelbart and Alexander Rehding ; Part II. Dualism ; Chapter 5. The Problem of Harmonic Dualism: A Translation and Commentary ; Ian Bent ; Chapter 6. Harmonic Dualism as Historical and Structural Imperative ; Henry Klumpenhouwer ; Chapter 7. Dualistic Forms ; Alexander Rehding ; Chapter 8. Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music ; Dmitri Tymoczko ; Part III. Tone Space ; Chapter 9. From Matrix to Map: Tonbestimmung, the Tonnetz, and Riemann's Combinatorial Conception of Interval ; Edward Gollin ; Chapter 10. On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564) ; Suzannah Clark ; Chapter 11. Tonal Pitch Space and the (neo-) Riemannian Tonnetz ; Richard Cohn ; Part IV. Harmonic Space ; Chapter 12. Neo-Riemannian Perspectives on the Harmonieschritte, with a Translation of Riemann's Systematik der Harmonieschritte ; Nora Engebretsen ; Chapter 13. On a Transformational Curiosity in Riemann's Schematisirung der Dissonanzen ; Edward Gollin ; Chapter 14. Chromaticism and the Question of Tonality ; David Kopp ; Part V. Temporal Space ; Chapter 15. Perspectives on Riemann's Mature Theory of Meter ; William E. Caplin ; Chapter 16. Reading Between the Lines: Hugo Riemann and Beethoven's Op. 31 Piano Sonatas ; Scott Burnham ; Chapter 17. Metric Freedoms in Brahms's Songs: A Translation and Commentary ; Paul Berry ; Part VI. Transformation, Analysis, Criticism ; Chapter 18. Riemannian Analytical Values, Paleo- and Neo- ; Steven Rings ; Chapter 19. Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's Le chasseur maudit ; Robert C. Cook ; Chapter 20. Three Short Essays on Neo-Riemannian Theory ; Daniel Harrison ; Glossary ; Selected Bibliography ; Index

Edward Gollin is Associate Professor of Music at Williams College. 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 and Music and Monumentality, and is co-editor of Acta musicologica.

This volume is of major importance to professional music theorists as well as musicians interested in the deep structure of chromatic tonal music. It is the most comprehensive set of neo-Riemannian analyses now available, conjoining, as it does, the historical Hugo Riemann with contemporary thought and techniques.

• Acknowledgments ; Preface ; Part I. Intellectual Contexts ; Chapter 1. The Reception of Hugo Riemann's Music Theory ; Ludwig Holtmeier ; Chapter 2. The Nature of Harmony: A Translation and Commentary ; Benjamin Steege ; Chapter 3. What is a Function? ; Brian Hyer ; Chapter 4. Riemann and Melodic Analysis: Studies in Folk-Musical Tonality ; Matthew Gelbart and Alexander Rehding ; Part II. Dualism ; Chapter 5. The Problem of Harmonic Dualism: A Translation and Commentary ; Ian Bent ; Chapter 6. Harmonic Dualism as Historical and Structural Imperative ; Henry Klumpenhouwer ; Chapter 7. Dualistic Forms ; Alexander Rehding ; Chapter 8. Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music ; Dmitri Tymoczko ; Part III. Tone Space ; Chapter 9. From Matrix to Map: Tonbestimmung, the Tonnetz, and Riemann's Combinatorial Conception of Interval ; Edward Gollin ; Chapter 10. On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564) ; Suzannah Clark ; Chapter 11. Tonal Pitch Space and the (neo-) Riemannian Tonnetz ; Richard Cohn ; Part IV. Harmonic Space ; Chapter 12. Neo-Riemannian Perspectives on the Harmonieschritte, with a Translation of Riemann's Systematik der Harmonieschritte ; Nora Engebretsen ; Chapter 13. On a Transformational Curiosity in Riemann's Schematisirung der Dissonanzen ; Edward Gollin ; Chapter 14. Chromaticism and the Question of Tonality ; David Kopp ; Part V. Temporal Space ; Chapter 15. Perspectives on Riemann's Mature Theory of Meter ; William E. Caplin ; Chapter 16. Reading Between the Lines: Hugo Riemann and Beethoven's Op. 31 Piano Sonatas ; Scott Burnham ; Chapter 17. Metric Freedoms in Brahms's Songs: A Translation and Commentary ; Paul Berry ; Part VI. Transformation, Analysis, Criticism ; Chapter 18. Riemannian Analytical Values, Paleo- and Neo- ; Steven Rings ; Chapter 19. Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's Le chasseur maudit ; Robert C. Cook ; Chapter 20. Three Short Essays on Neo-Riemannian Theory ; Daniel Harrison ; Glossary ; Selected Bibliography ; Index

Edward Gollin is Associate Professor of Music at Williams College. 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 and Music and Monumentality, and is co-editor of Acta musicologica.

This volume is of major importance to professional music theorists as well as musicians interested in the deep structure of chromatic tonal music. It is the most comprehensive set of neo-Riemannian analyses now available, conjoining, as it does, the historical Hugo Riemann with contemporary thought and techniques.

• Acknowledgments ; Preface ; Part I. Intellectual Contexts ; Chapter 1. The Reception of Hugo Riemann's Music Theory ; Ludwig Holtmeier ; Chapter 2. The Nature of Harmony: A Translation and Commentary ; Benjamin Steege ; Chapter 3. What is a Function? ; Brian Hyer ; Chapter 4. Riemann and Melodic Analysis: Studies in Folk-Musical Tonality ; Matthew Gelbart and Alexander Rehding ; Part II. Dualism ; Chapter 5. The Problem of Harmonic Dualism: A Translation and Commentary ; Ian Bent ; Chapter 6. Harmonic Dualism as Historical and Structural Imperative ; Henry Klumpenhouwer ; Chapter 7. Dualistic Forms ; Alexander Rehding ; Chapter 8. Dualism and the Beholder's Eye: Inversional Symmetry in Chromatic Tonal Music ; Dmitri Tymoczko ; Part III. Tone Space ; Chapter 9. From Matrix to Map: Tonbestimmung, the Tonnetz, and Riemann's Combinatorial Conception of Interval ; Edward Gollin ; Chapter 10. On the Imagination of Tone in Schubert's Liedesend (D473), Trost (D523), and Gretchens Bitte (D564) ; Suzannah Clark ; Chapter 11. Tonal Pitch Space and the (neo-) Riemannian Tonnetz ; Richard Cohn ; Part IV. Harmonic Space ; Chapter 12. Neo-Riemannian Perspectives on the Harmonieschritte, with a Translation of Riemann's Systematik der Harmonieschritte ; Nora Engebretsen ; Chapter 13. On a Transformational Curiosity in Riemann's Schematisirung der Dissonanzen ; Edward Gollin ; Chapter 14. Chromaticism and the Question of Tonality ; David Kopp ; Part V. Temporal Space ; Chapter 15. Perspectives on Riemann's Mature Theory of Meter ; William E. Caplin ; Chapter 16. Reading Between the Lines: Hugo Riemann and Beethoven's Op. 31 Piano Sonatas ; Scott Burnham ; Chapter 17. Metric Freedoms in Brahms's Songs: A Translation and Commentary ; Paul Berry ; Part VI. Transformation, Analysis, Criticism ; Chapter 18. Riemannian Analytical Values, Paleo- and Neo- ; Steven Rings ; Chapter 19. Tonal Interpretation, Transformational Models, and the Chromatic Calls to Repent in Franck's Le chasseur maudit ; Robert C. Cook ; Chapter 20. Three Short Essays on Neo-Riemannian Theory ; Daniel Harrison ; Glossary ; Selected Bibliography ; Index