The Oxford Handbook of Neo-Riemannian Music Theories
Edited by Edward Gollin and Alexander Rehding
Author Information
Edward Gollin is Associate Professor of Music at Williams College.
Alexander Rehding teaches music at Harvard University. His interests are in the history of music theory, and in nineteenth and twentieth century music. He is the author of Hugo Riemann and the Birth of Modern Musical Thought and Music and Monumentality, and is co-editor of Acta musicologica.
Contributors:
Ian Bent is Emeritus Professor of Music of Columbia University and Honorary Professor in the History of Music Theory of Cambridge University, UK. His publications include Analysis and Music Analysis in the Nineteenth Century; he has served as editor of Music Theory in the Age of Romanticism, and co-editor of the translations of Schenker's Meisterwerk and Tonwille. He is currently coordinator of the online edition of all Schenker's correspondence, diaries, and lesson books, Schenker Documents Online.
Paul Berry is Assistant Professor of musicology at the University of North Texas. His current work centers on historical, critical, and analytic approaches to nineteenth-century chamber music and song, particularly that of Brahms, Schubert, and Schumann. Related focuses include rhetorical studies, connections between biography and historiography, and theorizing and contextualizing the kinesthetics of performance.
Scott Burnham is Scheide Professor of Music History at Princeton University. He is the author of Beethoven Hero, translator of A. B. Marx, Musical Form in the Age of Beethoven, and co-editor of Beethoven and His World. Forthcoming writings include "Late Styles," for Rethinking Schumann, and "Intimacy and Impersonality in Late Beethoven," for New Paths.
William E. Caplin is James McGill Professor of Music Theory in the Schulich School of Music, McGill University. His 1998 book Classical Form: A Theory of Formal Functions for the Instrumental Music of Haydn, Mozart, and Beethoven won the 1999 Wallace Berry Book Award from the Society for Music Theory. In addition to his work on musical form, he has published on the history of harmonic and rhythmic theory in the 18th and 19th centuries, including a chapter in the Cambridge History of Western Music Theory.
Suzannah Clark is Gardner Cowles Associate Professor at Harvard University. She previously taught at Oxford University. Her research interests include the history of tonal theory, the analysis and criticism of Schubert's music, as well as the history and analysis of trouvères chansons and thirteenth-century French motets.
Richard Cohn is Battell Professor of Music Theory at Yale University, and editor of Oxford Studies in Music Theory. His book on triadic progressions in 19th-century music is forthcoming from Oxford University Press, and a book on geometric modeling of metric states is in preparation.
Robert C. Cook teaches music theory at the University of Iowa. His interests include chromaticism, contextual music, and languages and practices of analysis. He was educated at the University of Chicago and Northwestern University.
Nora Engebretsen, an Associate Professor of Music Theory at Bowling Green State University, holds a Ph.D. in music theory from the University at Buffalo (SUNY). Her research interests include chromatic harmony, transformational theory and the history of theory. Her work has appeared in Music Theory Spectrum, Theoria, The of Music Theory Pedagogy, and collections published by the University of Rochester Press and Stockholm University Press.
Matthew Gelbart is Assistant Professor of music in the Department of Art History and Music at Fordham University. His research interests include eighteenth- and nineteenth- century music, how we label and sort the music we listen to, and rock music. He is the author of The Invention of "Folk Music" and "Art Music": Emerging Categories from Ossian to Wagner.
Edward Gollin is Associate Professor of Music Theory at Williams College. His research and publications have addressed topics in the history of music theory, transformational and neo-Riemannian theory, and the analysis of twentieth-century music with particular focus on the music of Béla Bartók.
Daniel Harrison is the Allen Forte Professor of Music Theory at Yale University, where he is also Chair of the Department of Music. He is the author of Harmonic Function in Chromatic Music, and has published on tonal-music topics in Journal of Music Theory, Music Theory Spectrum, Musical Quarterly, Theory and Practice, and Music Analysis, among other venues.
Ludwig Holtmeier is Professor of Music Theory at the 'Hochschule für Musik' in Freiburg. He is one of the editors of the journal Musik & Ästhetik and president of the Gesellschaft für Musik und Ästhetik. His recent publications include Richard Wagner und seine Zeit, Reconstructing Mozart, Musiktheorie zwischen Historie und Systematik, "From 'Musiktheorie' to 'Tonsatz': National Socialism and German Music Theory after 1945," and "Heinichen, Rameau and the Italian Thoroughbass Tradition: Concepts of Tonality and Chord in the Rule of the Octave."
Brian Hyer is Professor of Music at the University of Wisconsin, Madison. He has written widely on the anthropology of European music and its theories from the 18th through the 20th centuries.
Henry Klumpenhouwer is Professor of Music at the University of Alberta and former editor of Theory Spectrum. His published work involves the analysis of atonal music, the history of music theory, and analytical methodology.
David Kopp is Associate Professor in the Department of Composition and Theory at the Boston University School of Music. He is the author of Chromatic Transformations in Nineteenth-Century Music and articles in the Journal of Music Theory and Music Theory Online, among other publications. As pianist he has recorded for the New World Records, CRI, ARTBSN, and Arsis labels.
Benjamin Steege is Assistant Professor of the History and Theory of Music at Stony Brook University, with interests in the histories of music theory and science, and in early modernism. He is currently writing a book exploring the relationship of Hermann von Helmholtz to music theory and discourses of aurality.
Alexander Rehding is Fanny Peabody Professor of Music at Harvard University and editor of Acta musicologica. His interest focuses on music theory and nineteenth-century history. Publications include the books Hugo Riemann and the Birth of Modern Musical Thought and Music and Monumentality. Recipient of a Guggenheim Fellowship, Rehding is currently working on a study of the engagements of nineteenth-century science with musical aesthetics.
Steven Rings is Assistant Professor of Music and the Humanities at the University of Chicago. His research focuses on transformational theory, phenomenology, and questions of musical interpretation and meaning. Before turning his attention to music theory, he was active as a concert classical guitarist in the United States and Portugal. His book Tonality and Transformation is forthcoming from Oxford University Press.
Dmitri Tymoczko is a composer and music theorist who teaches at Princeton University. He has received prizes and fellowships from the Rhodes Trust, Tanglewood, the Guggenheim foundation, and the Radcliffe Institute for Advanced Study; his music has been performed by the Pacifica Quartet, the Brentano Quartet, Ursula Oppens, the San Francisco Contemporary Music Players, and others. His recently completed book, A Geometry of Music, argues that there is an "extended common practice" extending from the beginnings of Western counterpoint to contemporary jazz.
