: Hugo Riemann's Theory of Harmony, with a Translation of Riemann's History of Music Theory, Book III . William C. Mickelsen.

1978 ◽  
Vol 2 (2) ◽  
pp. 178-185
Author(s):  
Ruth A. Solie
Keyword(s):  
Music Theory ◽  
History Of Music Theory ◽  
History Of

A Bibliography of the History of Music Theory

1973 ◽  
Vol 21 (4) ◽  
pp. 380-381
Author(s):  
George J. Buelow
Keyword(s):  
Music Theory ◽  
History Of Music Theory ◽  
History Of

scholarly journals Sequences

2018 ◽  
Vol 24 (4) ◽  
Author(s):  
Jan Philipp Sprick
Keyword(s):  
Music Theory ◽  
Testing Ground ◽  
History Of Music Theory ◽  
History Of ◽  
Contemporary Perspective ◽  
Historical Discourses

In the history of music theory, we encounter the paradox that harmonic sequences are simultaneously seen as fundamental, affirmative examples for tonality (Rameau, Sechter, et al.) and as structures that threaten or even destroy cadence-oriented understandings of tonality (Fétis, Riemann, Grabner, et al.). Sprick (".fn_cite_year($Sprick_2012).") has argued that the discussion of sequences around 1900 functioned as a kind of “testing ground” for individual conceptions of tonality. This article goes further in relating historical discourses on the sequence with a contemporary perspective, a study that reveals striking similarities suggesting the sequence remains an important and challenging structural device within the theoretical discourses of tonality.

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