New publication on dominant ninths and tonic sevenths

I have published The Dominant Ninth and Tonic Seventh in the Upper Tetrachord of the Major Key on the Texas ScholarWorks platform: link.

Here is the abstract:

Pieter van der Merwe, Derek B. Scott, and Norbert Linke have all written about the freedom with which nineteenth-century composers—especially those writing music for social dance and repertoires influenced by social dance—treated the upper tetrachord of the major key, an essential factor in the history of extended tertian chords and more generally in the history of still more complex harmonies. Examples total about 60; theirs and most of mine come from the 19th century waltz repertoire.

New publications: Dominant Ninth, 1900-1924, Parts 1 & 2

I have published The Dominant Ninth in Music from 1900 to 1924 on the Texas ScholarWorks platform. Part 1: link.   Part 2: link.

Abstract for Part 1:

By about 1890, the major dominant ninth harmony had become firmly established in compositional and improvisational practice. After 1900, this harmony was routinely used in many musical genres. The two parts of this essay sample a few of these occurrences in repertoires ranging from those that are surprisingly conservative (American marches and ragtime) to those that are remarkably adventurous (French Impressionists and the English and American musicians influenced by them). Composers represented in Part 1 include Costa Nogueras, Friml, Hageman, Herbert, Joplin, Kern, Lehar, Lincke, MacDowell, and Sousa.

Abstract for Part 2:

This continues the study of the major dominant ninth harmony in European and European-influenced music after 1900. Composers represented in Part 2 are Claude Debussy, Lili Boulanger, and Charles Griffes. Scholarship by Taylor Greer, Keith Waters, and Deborah Williamson is summarized and discussed. Composers whose stage works are discussed in the introduction are Herbert, Lehar, Mozart and Wagner.