Hugo Riemann never set foot on American soil. His harmonic theories, however, did cross the Atlantic and fell on fertile grounds, inspiring a rich repertoire of methods for music analysis that is nowadays usually subsumed under the name of neo-Riemannian theories (NRTs)—decidedly in the plural form. In this essay, I will review the central characteristics of NRTs and will relate how they connect with Hugo Riemann’s original works.
