By Alexander Rehding
Hugo Riemann (1849-1919) is mostly stated because the most vital musicologist of his age. by way of examining his musical concept in the turn-of-the-century context of curiosity within the ordinary sciences, German nationhood and sleek expertise, this e-book reconstructs how Riemann's rules not just "made experience" yet complicated a trust of the tonal culture as either normal and German. Riemann motivated 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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Additional resources for Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism)
In fact, Riemann regarded Hauptmann’s theory as a major breakthrough in the formation of harmonic dualism. Brushing all of Hauptmann’s qualms aside, Riemann conﬁdently exclaimed in ‘Die Natur der Harmonik’, Waldersees Sammlung musikalischer Vortr¨age 4 (1882), p. 181, that Hauptmann’s idea ‘to regard the minor triad as a major triad put on its head, developed negatively’, was ‘sensational’. Later on, Riemann’s enthusiasm for Hauptmann cooled down considerably; see Peter Rummenholler, ¨ Musiktheoretisches Denken im 19.
4b Hauptmann’s alternative explanation of the minor triad, bottom-up but no longer dialectical. 28 The emerging problem is obvious: how can one element of the triad, the C, represent two moments of the dialectic (II and III) at once? It is a dialectical impossibility to locate antithesis and synthesis in the same moment, as the former is supposed to be sublated by the latter. If the two are located in the same moment, the desired dialectical ‘identity of identity and non-identity’ is not attainable: the structure either becomes a simple contradiction or has had no true opposition in the ﬁrst place.
17 Considering Helmholtz’s work, in particular the last sentence quoted, we can begin to understand the dilemma of nineteenth-century music theory: the aesthetic postulate that major and minor should occupy an equivalent position in Western music is sharply contradicted by the experimental ﬁndings of the likes of Helmholtz. Helmholtz regretted this mismatch, but his scientiﬁc facts appeared unequivocal. In fact, he added a discussion reappraising the minor mode in light of its acoustical imperfections, which sounds somewhat like a consolation prize: But I am by no means of the opinion that this character depreciates the minor system.
Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism) by Alexander Rehding