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The first installment of Hugo Riemann's essay "Musikalische Logik: Ein Beitrag zur Theorie der Musik" appeared in the pages of the Neue ZeitschriftfiirMusik (NZfM) on 5 July 1872. This was the debut of a music theorist who would write more about a wider range of musical subjects over the next four decades than any of his contemporaries.1 Riemann was not yet twenty-three years old. He had entered the renowned conservatory at the University of Leipzig the previous fall, where he had studied harmony with Salomon Jadassohn, a onetime student of Moritz Hauptmann, and piano and composition with Carl Reinecke, a traditionalist who preferred Mozart to the Music of the Future. As debuts go, Riemann's stretched inordinately over a period of nine weeks; the NZJM essay was written and published in five parts, the last of which appeared on 6 September 1872. Over the next several months Riemann turned his attention to his dissertation, "Ueber das musikalische Horen," which he hoped to present sometime the following year. He also wrote two shorter essays for the NZJM-"Ueber Tonalitat" and "Tonverwandtschaft"-which appeared in November 1872 and January 1873, respectively. Revised passages from "Musikalische Logik" and "Ueber Tonalitat" found their way into Rie |
