See the previous post for information on this continuation of a historical survey of treatises and textbooks.
Friedrich Johann Lehmann, Harmonic Analysis (Oberlin, OH: A. G. Coming, 1910)
Lehmann's experience was quite common for an American musician in the latter half of the 19th century. He was born in Cleveland in 1866, enrolled in the Oberlin College Conservatory where he studied piano and voice, went to Leipzig for further studies that included theory under a pupil of Jadassohn, and then returned to Oberlin, where he taught for 30 years (1902-1932); he died in 1940. (Information from Baker's Biographical Dictionary of Musicians, 4th edition (1940), p. 647.)
Harmonic Analysis was published locally but achieved some circulation--this copy comes the library of the University of California. The volume's practical focus, inclusion of contemporary repertoire, and simple reduction techniques clearly show its author's connection to the Leipzig Conservatory tradition of Jadassohn and E. F. R. Richter. (A closely related method can be found in a book of the same title by Benjamin Cutter, who taught in the New England Conservatory.)
Basic instruction in harmony is assumed, and it is for that reason that Lehmann introduces the ninth chord very early.
Each lesson in the book is dominated by musical examples; text is adequate but minimal. Lehmann says the only ninth chord to be analyzed as an independent harmony is the dominant ninth; his examples include both the dominant major ninth and the dominant minor ninth. The latter is in examples from Schumann, Beethoven, and Brahms. The major ninth is in Korestchenko, op. 1n1 (internal resolution), Bargiel Nocturne (direct), and Czerny op. 335 (indirect). See these below.
