Kreative Missverständnisse oder universale Musikprinzipien?

No other music scholar has had such an international resonance during and after his lifetime as Hugo Riemann. His numerous writings have been translated into many languages and his ideas continue to have an impact right up to the current "Neo-Riemannian Theory". The articles in this book examine how Riemann himself further developed the ideas of authors such as Rameau or Fétis; they also offer a panorama of Riemann's reception in Europe, Russia, China and the USA. In both cases, it becomes clear that international transfers of knowledge are always determined by the specific contexts and needs in the receiving country and therefore inevitably lead to modifications of the appropriated concepts and to creative misunderstandings. With contributions by Mario Carrozzo | Thomas Christensen | Damien Ehrhardt | Hans-Joachim Hinrichsen | Christoph Hust | Stefan Keym | Thomas Husted Kirkegaard | Elena Lagutina | Iwona Lindstedt | Nathan Martin | Fabian Moss | Markus Neuwirth | Robert Rabenalt | Alexander Rehding | Ullrich Scheideler | Gesine Schröder | Benedict Tylor | Christian Utz