Conceptual Development in the Neo-Riemannian Reception of Riemann: “Schritt /Wechsel” and “PLR Transformations”

Abstract

   Since the 1980s in America, beginning from the transformational theory proposed in D. Lewin’s Generalized Musical Intervals and Transformations （1987） and through H. Klumpenhouwer’s, B. Hyer’s, and R. Cohn’s studies, so-called Neo-Riemannian theory has developed. This theory has focused on the analysis of post-tonal and late-Romantic music. From the 2000s on, methodological and historical discussions have also emerged. One of the issues discussed is how Neo-Riemannian theorists have appropriated Hugo Riemann’s concepts. According to Nora Engebretsen’s article in 2011, although Riemann’s concept and taxonomy of the “Schritt /Wechsel” group on harmonic progressions（ Riemann 1880） have been replaced by “parallel,” “Leittonwechsel,” and “relative”（ PLR） transformations in Neo-Riemannian theory, there are fundamental differences in the views of chord relationships and tonality. In this sense, Neo-Riemannian theory has allegedly not only rediscovered Riemann’s theory, but also renewed it. It would be sure that such an assertion has certain validity. However, it must be reexamined in a more discourse-driven way by following three aspects: 1. the relationship between Riemann’s and A. Oettingen’s theoretical concepts （Oettingen 1866）, especially under the dynamics of Riemann’s harmonic theory including his later psychological turn（ Riemann 1916）; 2. the relationship between Riemann’s concepts and Neo-Riemannian transformations （PLR and others）; and 3. the relationship between Riemann’s concepts and Neo-Riemannian PLR transformations since the 2000s. Based on a closer observation from these perspectives, this article attempts to renew the preceding study’s viewpoint and to propose a developmental process of the concepts derived from Riemann.