One of his inventions, the Tonnetz, is the predecessor of the modern idea of pitch spaces, and is a fundamental analytical tool of the current field of neo-Riemannian theory.
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The composition's title, German for "study of harmony," is found in the title of several music theory texts, including those written by Arnold Schoenberg (1911), Heinrich Schenker (1906), and Hugo Riemann (1893), with Adams explicitly referring to Schoenberg's.
Following Lewin's revival (in GMIT) of Hugo Riemann's three contextual inversion operations on triads (parallel, relative, and Leittonwechsel) as formal transformations, the branch of transformation theory called Neo-Riemannian theory was popularized by Brian Hyer (1995), Michael Kevin Mooney (1996), Richard Cohn (1997), and an entire issue of the Journal of Music Theory (42/2, 1998).