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Beethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Few other musical works hold such a prominent place in the collective imagination; each generation rediscovers

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. This influence, however, belies the contentious idea at the heart of his musical thought, an idea he defended for most of his career - harmonic dualism. 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.

Beethoven's Ninth Symphony has held musical audiences captive for close to two centuries. Few other musical works hold such a prominent place in the collective imagination; each generation rediscovers

A few weeks after the reunification of Germany, Leonard Bernstein raised his baton above the ruins of the Berlin Wall and conducted a special arrangement of Beethoven's Ninth Symphony. The central sta

In recent years Hugo Riemann's ideas have thoroughly captured the music-theoretical imagination, both in the United States and abroad. Neo-Riemannian theory has proven particularly adept at explaining

Music exists in time. All musicians know this fundamental truth—but what does it actually mean? Thirteen scholars probe the temporality of music from a great variety of perspectives, in response to ch

The posthumous publication of Theodor W. Adorno’s works on music continues to reveal the special relationship between music and philosophy in his thinking. These important works have not, however, rec

In recent years Hugo Riemann's ideas have thoroughly captured the music-theoretical imagination, both in the United States and abroad. Neo-Riemannian theory has proven particularly adept at explaining