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Topic: Hugo Riemann

	Hugo Riemann -- Facts, Info, and Encyclopedia article (Site not responding. Last check: 2007-10-29)
		Hugo Riemann (full name: Karl Wilhelm Julius Hugo Riemann) (July 18, 1849 - July 10, 1919) was a (A person of German nationality) German (A student of musicology) musicologist.
		Riemann went to Bromberg in 1880, but 1881- (The cardinal number that is the product of ten and nine) 90 he was a teacher of piano and theory at Hamburg Conservatory.
		In addition to his work as a teacher, lecturer and composer of pedagogical pieces, Dr. Riemann has made for himself a world-wide reputation as a writer upon musical subjects.
	www.absoluteastronomy.com /encyclopedia/H/Hu/Hugo_Riemann.htm (219 words)

	Hugo Riemann (Site not responding. Last check: 2007-10-29)
		Hugo Riemann (full name: Karl Wilhelm Julius Hugo Riemann) (July 18, 1849 - July 10, 1919) was a German musicologist.
		Riemann went ot Bromberg in 1880, but 1881-90 he was a teacher of piano and theory at Hamburg Conservatory.
		His best known works are the famous Musiklexikon, a complete dictionary of music and musicians, the Handbuch der Harmonielehre, a work on the study of harmony, and the Lehrbuch des Contrapunkts, a similar work on counterpoint, all of which have been translated into English.
	www.sciencedaily.com /encyclopedia/hugo_riemann (296 words)

	The Tinsel-Town Follies, by Lyndon H. LaRouche, Jr. (Dec. 26, 1999)
		Riemann laid down the principle, that the measurable form of action connecting two successive points in a physical process, can not be derived from a deductive mathematics, but must be established by a type of physical experiment which he defined as unique.
		What Riemann's 1854 habilitation dissertation did, on this account, was, first of all, to outlaw all so-called self-evident assumptions of mathematics, such as those of schoolbook Euclidean geometry, from physical science.
		From the standpoint of the mathematical physics of Gauss and Riemann, the physical universe, considered as a whole, is what is called variously a "multiply-connected manifold," or "hypergeometry." The two terms, used in that context, mean the same thing.
	www.larouchepub.com /lar/2000/2702_tinsel-town_follies.html (9160 words)

	[No title]
		True to his time, Riemann attempted to establish a harmonic theory on acoustical and physiological grounds.
		Riemann's role in the history of music psychology is not well documented probably because his contributions were scattered over an uncommonly prolific and varied publishing career.
		Riemann initially used the Table to summarize acoustic relations, but by the end of his career it had become a psychological hypothesis underlying a complex and idiosyncratic theory of harmony.
	mto.societymusictheory.org /issues/mto.96.2.1/mto.96.2.1.dis (2124 words)

	Hugo Riemann and the Birth of Modern Musical Thought - Cambridge University Press (Site not responding. Last check: 2007-10-29)
		Generally acknowledged as the most important German musicologist of his age, Hugo Riemann (1849—1919) shaped the ideas of generations of music scholars, not least because his work coincided with the institutionalisation of academic musicology around the turn of the last century.
		By situating Riemann’s musical thought within turn-of-the-century discourses about the natural sciences, German nationhood and modern technology, this book reconstructs the cultural context in which Riemann’s ideas not only ‘made sense’ but advanced an understanding of the tonal tradition as both natural and German.
		Riemann’s musical thought - from his considerations of acoustical properties to his aesthetic and music-historical views - thus regains the coherence and cultural urgency that it once possessed.
	www.cup.cam.ac.uk /uk/catalogue/catalogue.asp?isbn=0521820731 (228 words)

	Missa1
		Riemann further explains that, in comparison to the predominance of text over melody in ancient-Greek vocal music, early Christian plainsong developed a greater independence of melody whereby melody formed the firm basis to which text had to adapt.
		As Riemann further comments, in his view, sequences are thus not strophic chants such as hymns, and also do not have a constantly same line length and also do not employ the rhyme.
		Riemann concludes this topic by pointing out that the sequences became extremely popular, yet retained their subordinate liturgical role, so that the core of liturgy, the old chorale, remained untouched.
	raptusassociation.org /missaemessgesch.html (13202 words)

	Tonality (Site not responding. Last check: 2007-10-29)
		Hugo Riemann (n.d.) defined tonality as, "the special meaning [functions] that chords receive through their relationship to a fundamental sonority, the tonic triad."
		At the same time the elaboration of both the fugue and the sonata form in terms of key relationships becomes more rigorous, and the study of harmonic progressions, voice leading and ambiguity of key becomes more precise.
		Theorists such as Edward Lowinsky, Hugo Riemann, and others pushed the date at which modern tonality began, and the cadence began to be seen as the definitive way that a tonality is established in a work of music (Judd, 1998).
	www.worldhistory.com /wiki/T/Tonality.htm (3865 words)

	Table of contents for Library of Congress control number 2002031364 (Site not responding. Last check: 2007-10-29)
		Table of contents for Hugo Riemann and the birth of modern musical thought / Alexander Rehding.
		Riemann's musical logic and the 'as if' 4.
		Beethoven's deafness and tone imaginations Epilogue Glossary: Riemann's key terms as explained in the Musik-Lexikon (5th edn, 1900).
	www.loc.gov /catdir/toc/cam031/2002031364.html (93 words)

	Aspects of Early Major-Minor Tonality: Chapter 1 (Site not responding. Last check: 2007-10-29)
		In this sense it means "exhibiting the characteristics of tonality." The use of tone and its cognates in various western languages as a synonym for key or mode, particularly prevalent in English in the 16th and 17th centuries, may be the basis for this usage.
		The conflict would seem to be between the desire to create a theory that is all-encompassing versus the willingness to accept a theory limited in scope to a more narrowly defined body of literature and to allow for multiple theories when necessary.
		Their argument would be that such a restriction would reduce the value of the music of the Renaissance and earlier to that of being a precursor to major-minor tonality.
	bama.ua.edu /~danderso/diss/chap1.htm (8940 words)

	"MUSIKALISCHE LOGIK": HUGO RIEMANN'S DEBUT AS A MUSIC THEORIST (Site not responding. Last check: 2007-10-29)
		Drawing on my translation of Riemann's first essay, as well as portions of his dissertation, I shall trace the nature and extent of his early allegiance to the music theory of Moritz Hauptmann.
		It is well known that Riemann was influenced by Hauptmann's Die Natur der Harmonik und Metrik (1853) in the years leading up to the dissertation; but his efforts to gain intellectual independence during this period have received little attention.
		I shall conclude by speculating on evidence that suggests the presence of external pressures on Riemann which may have hastened his shift away from Hauptmann's theoretical system.
	www.societymusictheory.org /html/events/abstracts/smt-97.abstracts/mooney.html (259 words)

	PIANO SONATAS MAIN_G
		Hugo Riemann schreibt in seiner >>Analyse von Beethovens Klaviersonaten<<, 2.
		(Riemann writes here that the Grave is not an introduction but rather, by its frequent returns, even if these returns are only hinted at, holds the movement together like mortar holds bricks together, and Riemann refers here to Lenz who has already observed this.
		Riemann then refers to his own edition of Beethoven's sonatas which, in the reprise of the first part, demands, >>from the beginning).
	raptusassociation.org /son8e.html (5595 words)

	Defended Dissertations (Site not responding. Last check: 2007-10-29)
		The main contributors to this pioneering work, Hermann von Helmholtz (1821–1894), Carl Friedrich Stumpf (1848–1936), Hugo Riemann (1849–1919), and Ernst Kurth (1886–1946), shared a common concern for music in the mind, but proposed different theories of musical hearing.
		The present study identifies the central concepts of each theory and the complex network of influence among these four scholars through whom the principal notions were developed, by examining them within the cultural and historical context of the period from 1863 to 1931.
		Despite the subtle but significant differences that have emerged in the course of this examination, however, these theories were all concerned with the central and still ongoing question of music theory—that is, what "musical hearing" is and how music theory should deal with it.
	www.music.columbia.edu /dissertations/dissdef/Kim2003.html (220 words)

	Functional concepts of Musical Form (Site not responding. Last check: 2007-10-29)
		The concept of the functional in musicology is traditionally related, first of all, to the theory of tonal and harmonic functions created by Hugo Riemann and more thoroughly developed in the works of his numerous followers.
		Today, with systemic research became one of the leading trends in scientific methodology, the concepts of function and structure have acquired a wider meaning applicable to the realm of music.
		Among the researchers that have approached some aspects of this theory are Riemann, E. Prout, Kurth, and Fischer, and in Russia S. Taneev, G. Katuar, and V. Yavorsky.
	www.tau.ac.il /arts/musicology/INTERP/zoloto~1.htm (653 words)

	Alexander Rehding, Emmanuel College, Cambridge: "Listening for Undertones (Site not responding. Last check: 2007-10-29)
		The theoretical approach to tonal music known as harmonic dualism, represented chiefly by the German 19th-century trio of Arthur von Oettingen, Moritz Hauptmann and particularly Hugo Riemann, has been thoroughly exorcised by 20th-century music theorists.
		The coup de grace was delivered to harmonic dualism after Riemann proclaimed that the minor triad could be traced back to an "undertone series" in the same manner as the major triad was commonly related to the overtone series.
		Most critics have satisfied themselves with insisting that harmonic dualism is wrong, on the basis that the "undertone series" has been found to be an acoustical impossibility.
	www.tau.ac.il /arts/musicology/INTERP/rehding.htm (410 words)

	Re: (ilwis-list) No colors in polygon maps!
		Ilwis just can't handle big polygons, so you need to break those problematic polygon in smaller ones, and display as different maps on your view.
		Riemann At 07:54 AM 5/3/01 -0700, you wrote: > Dear Ilwis-list members: > > We have a polygon map.
		When we display the entire map, the color of >polygons are corretly showed, but when we print this map, there is no color >in some polygons (the giggers)!
	www.mail-archive.com /ilwis-list@itc.nl/msg00159.html (186 words)

	Reger Max English (Site not responding. Last check: 2007-10-29)
		part from Richard Strauss, Gustav Mahler, Hugo Wolf or Arnold Schoenberg most German composers of the period around 1900 have for long been largely forgotten.
		After studies with the famous music theoretician Hugo Riemann (1890 — 1895) Reger suffered in consequence of his military service and of professional setbacks a nervous and material breakdown and returned in 1898 to the parental home.
		There Reger's productivity increased enormously until he was able to persuade his family in 1901 to move to Munich where he expected more musical stimulation than in the Upper Palatinate.
	www.maurice-abravanel.com /reger_max_english.html (713 words)

	[No title] (Site not responding. Last check: 2007-10-29)
		"Hugo Riemann's Theory of 'Dynamic Shading': A Theory of Musical Meter?," Theoria 1 (1985), 1-24.
		Waldbauer, Ivan F. "Riemann's Periodization Revisited and Revised," JMT 33.2 (Fall 1989), 333-391.
		"Review of Hugo Riemann's Theory of Harmony, by William C. Mickelsen, and History of Music Theory, Book II, by Hugo Riemann, translated and edited by William C. Mickelsen," JMT 22.2 (Fall 1978), 316-319.
	www.humanities.mcmaster.ca /~renwick/citation.txt (16737 words)

	Find in a Library: Hugo Riemann's Theory of harmony : a study (Site not responding. Last check: 2007-10-29)
		Find in a Library: Hugo Riemann's Theory of harmony : a study
		Hugo Riemann's Theory of harmony : a study
		WorldCat is provided by OCLC Online Computer Library Center, Inc. on behalf of its member libraries.
	www.worldcatlibraries.org /wcpa/ow/34a3db53c00e502c.html (57 words)

	Max Reger
		However, before he took his first teaching job, he met the eminent musicologist Hugo Riemann, who was so impressed by Reger's talent that he urged him to devote himself entirely to music.
		Reger enrolled at the Sonderhausen Conservatory where he studied under Riemann; he then followed his teacher to Wiesbaden (where it is said his drinking habits began).
		After holding some minor posts, he became Music Director of the Leipzig University (1907) and Professor of composition at the Leipzig Conservatory - a post he retained to the end of his short life.
	www.geocities.com /Vienna/Strasse/1945/WSB/reger.html (1215 words)

	SBF Glossary: RF to RKO
		Albert Einstein's General Theory of Relativity is based on a generalized non-Minkowski geometry of spacetime, and Georg Friedrich Bernard Riemann (1826-1866) was one of the major developers of generalized geometries, whose study is usually known as Riemannian geometry.
		One Karl Wilhelm Julius Hugo Riemann (1849-1919) music theorist and teacher, produced Musik-Lexikon (1882).
		Hugo Riemanns Musiklexikon, as edited by W. Gurlitt (1959-1967).
	www.plexoft.com /SBF/R02.html (6452 words)

	Max Reger
		He was expected to become a school teacher like his father and to this end passed the necessary examinations for certification.
		However, before he landed his first teaching job, he met the eminent musicologist Hugo Riemann, who was so impressed by Reger’s talent that he urged him to devote himself entirely to music.
		Reger enrolled at the Sonderhausen Conservatory where he studied under Riemann; he then followed his teacher to Wiesbaden.
	www.fuguemasters.com /reger.html (995 words)

	Amazon.com: Harmonic Function in Chromatic Music : A Renewed Dualist Theory and an Account of Its Precedents: Books (Site not responding. Last check: 2007-10-29)
		Yet until now, the harmonic complexity of this repertory has resisted the analytic techniques available to music theorists and historians.
		Complementing the theoretical ideas is a critical history of nineteenth-century German harmonic theory in which Harrison traces the development of Hugo Riemann's ideas on dualism and harmonic function and examines aspects of Riemannian theory in the work of later theorists.
		Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism) by Alexander Rehding on 7 pages
	www.amazon.com /exec/obidos/tg/detail/-/0226318087?v=glance (746 words)

	Music 37200 \| Assignments
		Hugo Riemann, System der musikalischen Rhythmik und Metrik (Leipzig: Breitkopf & Härtel) [MT42.R55], chapters 5 (“Erweiterungen der Sätze durch Anhänge und Einschaltungen”) pp.
		Ivan Waldbauer, “Riemann’s Periodization Revisited and Revised,” The Journal of Music Theory 33/2 (Fall 1989): 333-392.
		Alexander Rehding, Hugo Riemann and the Birth of Modern Musicology (Cambridge: Cambridge University Press, 2003) [ML423.R45R44 2003], chapter 2 (“The responsibilities of nineteenth-century music theory”), pp.
	humanities.uchicago.edu /classes/zbikowski/372assgn.html (4489 words)

	Music 37200 \| Bibliography
		Systeme der Funktionsbezeichnung in den Harmonielehre seit Hugo Riemann.
		Hugo Riemann and the Birth of Modern Musicology.
		“Hugo Riemann’s Musical Theory.” Studies in Music from the University of Western Ontario 2 (1977): 108-24.
	humanities.uchicago.edu /classes/zbikowski/372_bib.html (2064 words)

	Polish Music Journal 4.1.01 - Stojowski: The Evolution of Style
		From Mozart's fermatas and decorative patterns surrounding them, through Beethoven's imperious but planned liberties and oddities, this yearning for freedom runs to Liszt's "gypsy mannerisms," and to Chopin's wonderful ornamentation and characteristically Polish rubato.
		For Chopin the bar-line was, Paderewski says, "like the oppressive yoke of a foreign government."[11] Its misdeeds have been denounced by some musicologists, while others, like Riemann, have tried to displace it, for better or worse, with a view at "phraseism."[12] Accents often contradict and phrases overlap the bar-line.
		Riemann (1849-1919) is better known for his theory of harmony.
	www.usc.edu /dept/polish_music/PMJ/issue/4.1.01/stojowskievolution.html (4689 words)

	Ignaz FRIEDMAN (Site not responding. Last check: 2007-10-29)
		He had assisted Leschetizky and became one of his prized pupils: Leschetizky even stated that Friedman had surpassed him technically.
		Friedman also studied composition and musicology with Hugo Riemann and Guido Adler.
		As a teacher he was insightful, effective and offered effecting advice and help to his many students, among whom are Ignace Tiegerman (whom he considered his finest), Victor Schiler and Bruce Hungerford.
	www.arbiterrecords.com /musicresourcecenter/friedman.html (337 words)

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