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Society for Music Theory

Method and Motivation in Hugo Riemann's History of Harmonic TheoryAuthor(s): Scott BurnhamSource: Music Theory Spectrum, Vol. 14, No. 1 (Spring, 1992), pp. 1-14Published by: University of California Press on behalf of the Society for Music TheoryStable URL: http://www.jstor.org/stable/746078Accessed: 23/01/2010 09:01

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becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

becomes a taxonomic operation of labeling harmonies interms of a coherent system of tonal function, and tonality isthus conceived in hierarchical and spatial terms. The prideof his system is for Riemann the fact that he could mapvirtually any harmonic move onto his underlying network,thus demonstrating the inherent logical coherence of the

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

tonal system as utilized in music ranging from Bach to Wag-ner.28

28Figure is taken from Renate Imig, SystemederFunktionsbezeichnungin den Harmonielehren eit Hugo Riemann (Dusseldorf: Gesellschaft zurForderungder systematischenMusikwissenschaft,1970), 258.

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mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

mann as ideologically inflexible we must remember that, nearthe end of his life, he relaxed his conception of one set ofnatural laws for all of music, broadening his theoretical basein order to validate a wider range of musical practice.48 Oth-ers, as we know, could not make this turn, with the result thatthe ideology which preserves German hegemony within thevery definition of universal musical art is still very much withus today.

48Seefootnote 7.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.

ABSTRACTBook III of Hugo Riemann's 1898 History of Music Theory s dis-cussed from the point of view of historicalmethod and underlyingmotivation. Although he casts his history of harmonictheory as adevelopmental history, Riemann is shown to have constructed adiscoveryhistory, in which a set of unchangingnaturaltruths aboutharmonic ogic are graduallydiscoveredby generationsof theoristswho are understood to be asking the same questions. Riemann'smethodologyas a historianof theoryis seen as embodyingthe sametaxonomicimpulsethat informshis theoretical work. There followsaninvestigationof the claimsof natural cience, idealistthought,andnationalistpride on Riemann's motivation for writinghis historyofharmonictheory.