Theory of Harmony Based on Musical Examples
by 19th-Century Women Composers
In a small group of students and teachers, a »thirdspace« of conceptual openness, as described by Homi Bhabha, is being developed. In this space, all musical examples included in an online open-access harmony textbook will be exclusively drawn from the works of 19th-century women composers. These musical examples will be selected directly by course participants, who will learn the basics of harmony and musical analysis in a creative and active way.
The course structure, as well as the open-access website, will draw on three chapters from Diether de la Motte's historically-oriented The Study of Harmony (1976, English translation 1991), which traditionally focuses on works by male composers. These chapters are: Ch. 3, »Harmony between 1770 and 1810« (Haydn-Mozart-Beethoven); Ch. 4, »Harmony between 1800 and 1828« (Beethoven-Schubert); and Ch. 5, »Harmony between 1830 and 1850« (Schumann). By systematically organizing musical examples from women composers to reflect the 19th-century harmonic phenomena discussed in these three chapters, the project aims to enrich the cultural ecosystem of music theory and foster meaningful dialogue within the academic music community.
Database of the Music Examples by 19th-Century Women Composers
To begin with, these chapters from de la Motte's Study of Harmony / Harmonielehre can be studied as a source.
ALTERED CHORDS / ALTERIERTE AKKORDE
the dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant / der zur Dominante führende verminderte Septakkord mit zusätzlichem Leitton
Musical Examples in: de la Motte, The Study of Harmony:
Wolfgang Amadeus Mozart: Piano Sonata in F-major KV 533 (1788).
Wolfgang Amadeus Mozart: Piano Sonata in A-minor KV 310 (1778), Bar 73.
Selected Musical Examples by Women Composers:
Sophia Westenholz: Piano Sonata in F-minor (1803-11?), Bar 263-270 (365-6).
Fanny Hensel: 4 Lieder for Piano op. 2, No. 2 (1846), Bar 35-36.
Composer: SOPHIA WESTENHOLZ (1759-1838)
Work: Klaviersonate f-Moll
Year: ca. 1803-1811 (?)
Quelle: Manuskript in: Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
Bar: 263-270 (365-6)
Note:
1) The dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant.
2) Gr6 or Sw6?
Example 1 - Harmonic Excerpt
Composer: FANNY HENSEL (1805-1847)
Work: 4 Lieder for Piano op. 2, No. 2
Year: 1846
Quelle: Berlin: Bote & Bock.
Bar: 35-36
Note:
1) The dominant's leading-tone diminished-seventh chord with an added upper (Phrygian) leading tone [Gr6] progresses to the dominant.
2) Formal function - Usually leads Gr6 to the dominant pedal before the theme returns (as in de la Motte’s example of Mozart’s Piano Sonata in A Minor, Bar 73). In Hensel’s case, the dominant is Bb Major (in Eb Minor), while the piece is actually in B Minor, so after the pedal point, it must still be chromatically transformed into the leading-tone seventh chord A#–C#–E–G.
Blog
Types of Possible Contributions as Reflections on the Course:
Musical Analysis of Case Studies from Works by Female Composers
In-depth analysis of specific works by female composers, examining harmonic structures, stylistic elements, and their significance within a gender-sensitive harmony context.
Reflection on Terminology and Concept-Free Thinking in Music Theoretical Discourse
Considerations on the use of terminology in music theory, exploring how certain terms may influence or limit understanding, and discussing the possibilities of concept-free or less rigid approaches.
Reflection on the Educational Value of Presenting Musical Examples by Female Composers
Insights into the pedagogical importance of including examples from female composers.
Critical Engagement with Social, Cultural, and Musicological Aspects of Gender-Sensitive Harmony Theory
Analysis of the broader social, cultural, and musicological implications of a gender-sensitive approach, exploring how this perspective challenges traditional narratives in music theory.
Scientific-Artistic Reflection (Stylistic Copy, Installation, Improvisation, Various Formats, Artistic Research-Based Reflection)
Creative, interdisciplinary reflections combining scientific and artistic methods, such as stylistic copies, installations, or improvisations, offering unique interpretations and personal engagement with course themes through Artistic Research.