Notes 76/3 (2020): 451–454
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In “Musicalische Logik: Ein Beitrag zur Theorie der Musik,” Hugo Riemann argued for a “logic” of musical structure that brings together harmonic and metrical considerations in attempt to capture the temporal experience of music, which he conceived as a dialectical process (Hugibert Ries [Hugo Riemann], “Musical Logic: A Contribution to the Theory of Music,” trans. Kevin Mooney, Journal of Music Theory 44, no. 1 [Spring 2000]: 100– 26). The same inclination to articulate temporality has been reflected more recently in different strands of music theory: Christopher Hasty grounds his theory of meter in its ability to project from a given duration to another (Christopher Hasty, Meter as Rhythm [New York: Oxford University Press, 1997]); Fred Lerdahl develops a model of pitch space to trace the tonal journey manifested over time (Fred Lerdahl, Tonal Pitch Space [New York: Oxford University Press, 2001]); and Janet Schmalfeldt considers romantic form as characterized by the process of “becoming” (Janet Schmalfeldt, In the Process of Becoming: Analytic and Philosophical Perspectives on Form in Early Nineteenth-Century Music [New York: Oxford University Press, 2011]). Situating Organized Time in this context, Yust’s work stands out by taking up Riemann’s initiative with yet another renewed approach to integrate studies of rhythm, tonality, and form under a concept of structural time […]
