Alexander Rehding

Dados Biográficos

ID3592129
NOMEAlexander Rehding
PRENOMESAlexander
SOBRENOMERehding
ASSINATURAREHDING A
AFILIAÇÕESMusic, Harvard University
VERIFICADONão
TOTAL DE OBRAS52
TOTAL DE CITAÇÕES39
TOTAL COMO AUTOR23
TOTAL COMO EDITOR29
PRIMEIRO ANO DE PUBLICAÇÃO1998
ANO MAIS RECENTE DE PUBLICAÇÃO2025
ÍNDICE H4

  • Sounding Human

    Alex Rehding, Alexander RehdingARTICLEIsis2025

  • Geschichte der Musiktheorie

    Alexander RehdingARTICLEFontes artis musicae2022

    Reviewed by: Geschichte der Musiktheorie: Die Musiktheorie im 18. und 19. Jahrhundert. Dritter Band: Frankreich, Belgien, Italien ed. by Stefan Keym Alexander Rehding Geschichte der Musiktheorie: Die Musiktheorie im 18. und 19. Jahrhundert. Dritter Band: Frankreich, Belgien, Italien. Edited by Stefan Keym. Darmstadt: Wissenschaftliche Buchgesellschaft, 2021. [viii, 443p. ISBN 978-3-534-01212-1. €100] 'The History of Music Theory' has moved in lea…

  • The Oxford Handbook of Timbre

    Alexander ca Jh Rehding, Emily I Dolan et al.BOOKOxford Handbook of Timbre2021

    Elusive, timbre has long elicited by turns frustration and fascination. Dismissed as a secondary parameter, decried as mere sensuous surface, and deconstructed as a non-hierarchical quality beset with paradoxes, timbre has traditionally evaded straightforward classification, analysis, and definition. Recent scholarship has begun to embrace timbre in all of its rich messiness, and this volume demonstrates how a focus on timbre can reorganize the f…

  • Von der Oralität zum SchriftBild

    Matteo Nanni, Kira Henkel et al.BOOKVon der Oralität zum SchriftBild2020

  • Musik und Schrift

    Open AccessFederico Celestini, Matteo Nanni et al.BOOKMusik und Schrift2020

    Musiknotationen wurden lange nur als »aufgeschriebener Klang«, in der Rolle eines Speicher- und Kommunikationsmediums, verstanden. Ausgehend von neuerer Schriftforschung wird in diesem Band ein Perspektivenwechsel auf musikalische Schrift vorgenommen. Die Beiträge eröffnen kulturwissenschaftliche, philosophische, musikhistorische, bildtheoretische und musikästhetische Perspektiven auf musikalische Notation. Daran anknüpfend werden exemplarisch mu…

  • Timbre

    David Blake, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    Timbre, the distinctive quality of a particular sound, has become an increasingly critical analytical focus in recent music theory. Yet the sublinguistic nature of timbral cognition and the parameter’s inherent multidimensionality pose significant challenges to description and representation. This chapter examines four main approaches by which theorists have sought to understand timbre and employ it analytically: its ontology as a sonic object; i…

  • Tonic

    Alexander Rehding, Steven RingsCHAPTEROxford Handbook of Critical…2020

    This article proposes a general definition of tonic and explores its ramifications across repertories and intellectual traditions (cognitive, historical, ethnomusicological, music analytical, and phenomenological). The proposed definition admits of both wide and narrow applications: from broad conceptions that detect tonics in a wide range of world musics to a more narrow definition that limits the term (and its theoretical entailments) to bourge…

  • Melody

    David Trippett, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    Melody is a fundamental concept in Western musical thought; it connotes the form and affective power of successive sounds in motion, perceived as an aesthetic unity. Yet for many writers, melody does not exist as an autonomous form, and for those who credit its existence, few agree on what it is, or how it functions in relation to harmonic voice leading and phrase rhythm. This chapter examines the historical emergence of a theory of melody in the…

  • Tonal Harmony

    Ian Quinn, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This chapter introduces a novel explanatory model for the tonal grammar of music from the thoroughbass era, encompassing baroque and galant practices. The framework models the internalized knowledge of a skilled continuo player improvising at the keyboard prior to Rameau’s invention of the fundamental-bass concept. It makes predictions about the tonal tendency of a chord based on the interaction of its constituent scale-degrees. The framework mod…

  • Beneath Improvisation

    Visvanatha Iyer, Vijay Iyer et al.CHAPTEROxford Handbook of Critical…2020

    Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional musi…

  • Texture

    Jonathan De Souza, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This chapter considers musical texture as an emergent property. The first section shows how the interplay of rhythm and pitch—specifically, degrees of synchrony and similar motion—produces basic textural categories (monophony, homophony, polyphony, and heterophony). These textural types may be transformed or hierarchically combined. The second section further argues that such textural structures are supplemented by textural materials, involving t…

  • Meter

    Richard Cohn, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This chapter presents a sketch of an analytical model of musical meter, focused on sound rather than notation. A meter is defined as a set of pulses, and classified as an ordered set of adjacent pulse pairs, or minimal meters. The model encourages a view of meter as ever-changing and form-shaping. Metric change is defined as pulse substitution. Scripts of metric change are illustrated through analyses of brief passages of Schumann, Glass, and Gha…

  • Expressive Timing

    Mitchell Ohriner, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    “Expressive timing” refers to variation in performed durations among notes represented in a musical score with a single rhythmic value. The principal findings of the field are that performers use unequal durations to communicate grouping and metric structure, but these findings pertain primarily to performances of European solo piano music written between 1775 and 1850. This article presents three case studies of timing in repertoires at ever gre…

  • Images, Visualization, and Representation

    Dora A Hanninen, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    Visual images abound in music theory and analysis. From scores to voice-leading sketches, spectrographs to transformational networks, and through all kinds of other graphics, theorists use images to present and persuade. As music-theoretic discourse becomes increasingly multimodal, the differences between words and images as modes of expression, as well as the nature of the conceptual work that each does in a particular case, become critical conc…

  • Polyphony

    Michael Tenzer, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This chapter situates the extensive phenomenon of musical polyphony globally, taking typological and historical/material approaches in turn, and interspersing applications of comparative method that crosscut both. The typological method involves first considering the elemental aspects of musical sounds and the ways they can be combined, individually and in sequences, to create patterns we recognize as belonging to one of several polyphonic catego…

  • Mode

    Susan Mcclary, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This essay traces the development of “mode” in Western music from the early Greeks, through the transmission of Greek theory by Roman writers, the adaptation in the Middle Ages of aspects of this system for purposes of organizing liturgical chant, the changes made by Renaissance theorists to accommodate polyphonic composition, and the seventeenth-century transformation of modal practices into tonal procedures, to various uses of church modes in B…

  • Temporalities

    Martin Scherzinger, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This chapter examines the question of musical temporality in broad historical perspective. Through a series of reflections on the philosophy of time, theories of musical time, and the material history of time in the past 250 years, the chapter outlines the basic temporal antinomies of the West. This modern conception of temporality, broadly construed as a precisely-segmented linear time set against narratives of alternative, cyclical time, is sho…

  • Cadence

    Daniel Harrison, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This article treats cadences as stopping conventions in music that were first developed in medieval counterpoint, setting into music scholastic ideas about motion. These conventions continued to be influential well beyond that period and are the reason for making distinctions between perfect and imperfect consonances. Cadences can conclude entire works, movements, sections, phrases, and even smaller units. The mainstay of higher formal analysis, …

  • Phrase

    Janet Schmalfeldt, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    Like so many foundational music-theoretical terms, “phrase” has been adopted in divergent ways, sometimes unreflectively. Notions of phrase are necessarily contingent upon styles, genres, historical and cultural contexts, social functions, and ties to syntax, cadence, and form. Although no global definition is feasible, commonalities among appropriations of the term emerge. This chapter explores the ineluctable association of phrase with text and…

  • Interval

    Henry Klumpenhouwer, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    In the Western music-theoretical tradition, intervals are basic and foundational. They are also transhistorical, occupying theorists continually from classical origins to the present. Considering their foundational position, one might assume that intervals have a primitive, elementary character with little ideational content, and that the relevant literature is weakly innovative. Intervals appear within systems that reflect certain styles of thin…

  • Key and Modulation

    Suzannah Clark, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    What harmonic features are involved when a musical passage, or a work, is in a particular key? How is balance achieved between modulations that reinforce the home key and those that supplant it altogether? The chapter starts by analyzing “Im wunderschönen Monat Mai,” the opening song in Robert Schumann’s song-cycle Dichterliebe . It considers the criteria for identifying keys and provides a brief history of the role of closure in the definition o…

  • Repetition

    Elizabeth Hellmuth Margulis, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    Repetition lies at the core of musical practice, yet resists easy characterization. This chapter takes a perceptual approach to understanding its function, distinguishing acoustic repetition from notated repetition from perceived repetition, and exploring the paradoxical way that repeating sounds can give rise to perceptions of difference. Relying on analytic examples, it outlines three standard functions for musical repetition. First, repetition…

  • What Is Music, Anyway?

    Alasdair Bowie, Andrew Bowie et al.CHAPTEROxford Handbook of Critical…2020

    Definitions of music are contested, not least because the notion of definition itself is contested. Rather than define music, it can be more productive to trace how the use of the term has shifted historically. However, this approach may fail to explain why it matters whether something is music or not. Music itself can question the exclusive concentration on discursive understanding of the world. The reasons for this relate to differences between…

  • Analytical Relationships

    Marion A Guck, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This paper examines some ways in which analysts create relationships with musical works, based on evidence provided in music-analytical and other writing. The relationships that are considered extend from those of analysts who articulate an entirely aural relationship with the music analyzed, through those who hear movement and action in the sounds, to those who project tension and affect into the music based on an analogy with interpersonal empa…

  • Sequence

    Naomi Waltham-Smith, Alexander Rehding et al.CHAPTEROxford Handbook of Critical…2020

    This article examines the musical sequence as a nexus of melodic, linear, and harmonic processes commonly found in tonal music from the seventeenth to the early twentieth centuries. It locates sequential repetition as a problematic concept within the history of tonal music, considering the various controversies it has sparked in both its critical reception and the competing models advanced throughout the history of tonal theory. The article also …