Weitzmann's regions, my cycles, and Douthett's dancing cubes

Music Theory Spectrum

Volumn 22, Issue 1, 2000, Pages 89-103

  Cohn, Richard ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 61249397124     PISSN: 01956167     EISSN: None     Source Type: Journal    
DOI: 10.2307/745854     Document Type: Review

References (43)

1. Richard Cohn, "Introduction to Neo-Riemannian Theory: A Survey and a Historical Perspective," Journal of Music Theory 42/2 (1998): 167-79.
2. Georg Joseph Vogler, Handbuch der Harmonielehre und für den General-bass, nach dem Mannheimer Tonschule (Prague: K. Barth, 1802);
3. Gottfried Weber, Versuch einer geordneten Theorie der Tonsetzkunst, vol. 1 (Mainz: B. Schott, 1817).
4. Adolf Bernhard Marx, Die Lehre von der Musikalischen Komposition, praktisch-theoretisch, vol. 1 (Leipzig: Breitkopf und Härtel, 1837);
5. Moritz Hauptmann, Die Natur der Harmonik und der Metrik: zur Theorie der Musik (Leipzig: Breitkopf und Härtel, 1853).
6. David Kopp, "A Comprehensive Theory of Chromatic Mediant Relations in Mid-Nineteenth-Century Music" (Ph. D. diss., Brandeis University, 1995), 73-97.
7. Ottokar Hostinský, Die Lehre von den musikalischen Klangen: ein Beitrag zur aesthetischen Begrundung der Harmonielehre (Prague: H. Dominicus, 1879).
8. Arthur von Oettingen, Harmonie in dualer Entwickelung: Studien zur Theorie der Musik (Dorpat/Leipzig: W. Gläser, 1866);
9. Hugo Riemann, Skizze einer neuen Methode der Harmonielehre (Leipzig: Brietkopf und Härtel, 1880).
10. Michael Kevin Mooney, "The 'Table' of Relations and Music Psychology in Hugo Riemann's Harmonic Theory" (Ph. D. diss., Columbia University, 1996), 71-77, 236-39.
11. Carl Friedrich Weitzmann, Der übermässige Dreiklang (Berlin: T. Trautweinschen, 1853).
12. R. Larry Todd, "The 'Unwelcome Guest' Regaled: Franz Liszt and the Augmented Triad," 19th Century Music 12/2 (1988): 92-115;
13. "Franz Liszt, Carl Friedrich Weitzmann, and the Augmented Triad," in The Second Practice of Nineteenth-Century Tonality, ed. William Kinderman and Harald Krebs (Lincoln: University of Nebraska Press, 1996), 153-77.
14. Robert W. Wason, "Progressive Harmonic Theory in the Mid-Nineteenth Century," Journal of Musicological Research 8 (1988): 55-90.
15. Vogler's Handbuch der Harmonielehre (vol. 1, 103, 109
16. vol. 2, 8)
17. Janna K. Saslaw and James P. Walsh, "Musical Invariance as a Cognitive Structure: 'Multiple Meaning' in the Early Nineteenth Century," in Music Theory in the Age of Romanticism, ed. Ian Bent (Cambridge: Cambridge University Press, 1996), 211-32.
18. John Rocco Rea, "Franz Liszt's 'New Path of Composition': The 'Sonata in B minor' as Paradigm" (Ph. D. diss., Princeton University, 1978), 68.
19. Der übermässige Dreiklang, 22-23.
20. C. F. Weitzmann, "Gekrönte Preisschrift: Erklärende Erläuterung und musikalisch theoretische Begründung der durch die neuesten Kunstschöpfungen bewirkten Umgestaltung und Weiterbildung der Harmonik," Part 2, Neue Zeitschrift für Musik 52/2 (6. Januar 1860): 9-10; reprint, Scarsdale: Annamarie Schnase, 1964.
21. Ellon D. Carpenter, "Russian Music Theory: A Conspectus," in Russian Theoretical Thought in Music, ed. Gordon D. McQuere, Russian Music Studies 10 (Ann Arbor: UMI Research Press, 1983), 22.
22. Richard Cohn, "Maximally Smooth Cycles, Hexatonic Systems, and the Analysis of Late-Romantic Triadic Progressions," Music Analysis 15/1 (1996): 9-40 [17].
23. Jack Douthett, personal correspondence, December 1992.
24. Jack Douthett and Peter Steinbach, "Parsimonious Graphs: A Study in Parsimony, Contextual Transformations, and Modes of Limited Transposition," Journal of Music Theory 42/2 (1998): 241-63.
25. David Lewin, Generalized Musical Intervals and Transformations (New Haven: Yale University Press, 1987), 177.
26. Dennis Hennig, "Weitzmann and the Liszt Machine," Miscellanea Musicologica 16 (1989): 109-34.
27. Todd, "The 'Unwelcome Guest.'"
28. Robert P. Morgan, "Dissonant Prolongations: Theoretical and Compositional Precedents," Journal of Music Theory 20/1 (1976): 49-91 [62],
29. Rey M. Longyear and Kate R. Covington, "Liszt, Mahler, and a Remote Tonal Relationship in Sonata Form," in Studien zur Instrumentalmusik: Lothar Hoffman-Erbrecht zum 60. Geburtstag, ed. Anke Bingmann, Klaus Hortschansky, and Winfried Kirsch (Tutzing: Hans Schneider, 1988), 457-69.
30. Alan Walker, Franz Liszt, vol. 1: The Virtuoso Years, 1811-1847, rev. ed. (Ithaca, N.Y.: Cornell University Press, 1987), 350.
31. Richard Taruskin, Stravinsky and the Russian Traditions (Berkeley: University of California Press, 1996), I:261.
32. Benjamin Boretz, "Meta-Variations: Studies in the Foundations of Musical Thought," (Ph. D. diss., Princeton University, 1970);
33. "Meta-Variations, Part 4.1: Analytic Fallout (I)," Perspectives of New Music 11/1 (1972): 146-223, (Red Hook, N.Y.: Open Space, 1995).
34. Boretz, "Moving Beyond Neo-Riemannian Triads: Exploring a Transformational Model for Seventh Chords," Journal of Music Theory 42/2 (1998): 181-93,
35. Edward Gollin, "Some Aspects of Three-Dimensional Tonnetze," Journal of Music Theory 42/2 (1998): 195-206.
36. Clifton Callender, "Voice-Leading Parsimony in the Music of Alexander Scriabin," Journal of Music Theory 42/2 (1998): 219-33.
37. Weitzmann, "Gekrönte Preisschrift," Parts 4 and 5, Neue Zeitschrift für Musik 52/4 (20 Januar 1860): 31;
38. 52/5 (27 Januar 1860): 37.
39. Handbuch der Theorie der Musik von C. F. Weitzmann, ed. Felix Schmidt (Berlin: T. C. F. Enslin, 1888), 25, 90-91, 160-74.
40. Carl Friedrich Weitzmann, Der verminderte Septimenakkorde (Berlin: Hermann Peters, 1854).
41. Compare Vogler, Handbuch zur Harmonielehre, I:133.
42. David Cohen, "Metaphysics, Ideology, Discipline: Consonance, Dissonance, and the Foundations of Western Polyphony," Theoria 7 (1993): 1-86.
43. Richard Cohn, "Neo-Riemannian Operations, Parsimonious Trichords, and their Tonnetz Representations," Journal of Music Theory 41/1 (1997): 1-66.