Die Sequenz in der deutschen Musiktheorie um 1900
There is hardly any other musical phenomenon whose reception has been characterised by such a tight nexus of technical and structural aspects and aesthetic judgements as the sequence. Various developments make it abundantly clear that the years between 1871 and 1925 were a crucial period in the study of the theoretical history of the sequence: the publication of Riemann’s theory of functional harmony created of one of the most enduringly influential paradigms of the 19th century. At the same time an incalculable number of publications on the practical theory of harmony appeared. New analytical approaches after 1900 brought about a change in aesthetic evaluation. The same aspects of the sequence which had been addressed as problematic by late 19th-century music theory now became the focus of a new theory and aesthetics of music, oriented towards contemporary compositional practice: the initially inconspicuous phenomenon of the “sequence” is shown in a wider context to be a paradigm for the historiography of music theory.