Index

  I have just posted An Accumulated Index of Essays Published on Texas ScholarWorks. Link.

Abstract:

Here are lists of all my publications on the Texas ScholarWorks platform. The main topic areas covered are documentation and history of ascending and upper-register cadence gestures, similarly for the dominant ninth chord, form functions (after Caplin) for dance music, especially menuets of Mozart and his contemporaries, and linear analysis including Schenker. The file also includes repertoire lists.

blog update

 For a list of all the essays I've posted to Texas ScholarWorks, 

go either to the platform's main page: link to Texas ScholarWorks, then to the front page of the UT Faculty/Researcher Works section: link.

or go directly to the front page of the UT Faculty/Researcher Works section: link. 

Scroll down and click on "Search"

Then click on Filters/Author, and my name will come up as one of the most frequent contributors. 

Alternatively you can search UT Faculty/Researcher Works by department (see at the right of the first graphic above), where all but 4-5 entries are mine.

Or you can look in the blog's "labels" list for "index." I have published several, not through the present, but at least through 2024.

blog update

In November 2024, I published an updated index to this blog and to essays published on the Texas ScholarWorks platform about scale degree ^6 and the dominant ninth chord. Here is the link. 

I have made a bit more than a dozen posts since then; please see individual blog entries for those. The majority are ones completing my "treatises and textbooks" series: all have since been gathered and published in essay form: link to the essay.

For a list of all the essays I've posted to Texas ScholarWorks, go to the front page of the UT Faculty/Researcher Works section: link. If you click on Filters/Author, my name will come up as one of the most frequent contributors. 2026-04-13: I just checked this and it didn't work. This is disappointing. You can search UT Faculty/Researcher Works by department, where all but 4-5 entries are mine. Or rely on the index listed and linked above.

New publication on Texas ScholarWorks

Over the past few years, I have made quite a few posts on the history of the dominant major-ninth chord in treatises and textbooks. I have now gathered those posts into a single PDF essay and have provided a small amount of additional material. You can find the PDF here: link.

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I have published an updated index to this blog and to essays about scale degree ^6 and the dominant ninth chord on the Texas ScholarWorks platform. Here is the link. The date for this was November 5, 2024. I have made several posts since then; please see individual blog entries for those.

For a list of all the essays I've posted to Texas ScholarWorks, go to the front page of the UT Faculty/Researcher Works section: link. If you click on Filters/Author, my name will come up as one of the most frequent contributors.

Blog update February 2026

 For a two-paragraph historical narrative of the dominant ninth chord in European and European-influenced music, see this post: link.

I have published an updated index to this blog and to essays about scale degree ^6 and the dominant ninth chord on the Texas ScholarWorks platform. Here is the link. The date for this was November 5, 2024. I have made several posts since then; please see individual blog entries for those.

For a list of all the essays I've posted to Texas ScholarWorks, go to the front page of the UT Faculty/Researcher Works section: link. If you click on Filters/Author, my name will come up as one of the most frequent contributors.

On 18 December 2024, I published the fourth and last part in my most recent series: Dominant Ninth Harmonies in Music from 1900 to 1925, Part 4. Here is the link.

In the final sentences of the two-paragraph historical narrative, I wrote that "already by 1920 the dominant major-ninth sound was considered passé by younger concert composers and was often actively avoided." Two posts on 5 December 2025 explored this idea with music by Paul Creston, William Schuman, and Robert Muczynski. In general I rely on music in the public domain and on what is legally offered online, and thus it is difficult for me to survey work after 1930, the current copyright barrier year in the United States. I visited a local research library for access to these pieces and made my presentations according to fair use practices.

Blog update November 2025

 For a one-paragraph historical narrative of the dominant ninth chord in European and European-influenced music, see this post: link.

I have published an updated index to this blog and essays about scale degree ^6 and the dominant ninth chord on the Texas ScholarWorks platform. Here is the link. The date for this was November 5, 2024. I have made six posts since then, as part of a series on the dominant ninth in textbooks.

For a list of all the essays I've posted to Texas ScholarWorks, go to the front page of the UT Faculty/Researcher Works section: link. If you click on Filters/Author, my name will come up as one of the most frequent contributors.

On 18 December 2024, I published the fourth and last part in my most recent series: Dominant Ninth Harmonies in Music from 1900 to 1925, Part 4. Here is the link.

Blog updates

 For a one-paragraph historical narrative of the dominant ninth chord in European and European-influenced music, see this post: link.

I have published an updated index to this blog and essays about scale degree ^6 and the dominant ninth chord on the Texas ScholarWorks platform. Here is the link. 

18 December 2024: I have published the fourth and last part in the most recent series: Dominant Ninth Harmonies in Music from 1900 to 1925, Part 4. Here is the link.

For a list of all the essays I've posted to Texas ScholarWorks, go to the front page of the UT Faculty/Researcher Works section: link. If you click on Filters/Author, my name will come up as one of the most frequent contributors.

Updated Index to Essays

"Essays published on the Texas ScholarWorks platform, 2012-2022" updates earlier indices for all topic areas I have explored over the past decade. Here is the link.  Entries for each essay include title, abstract, and link.

Here is the abstract:

This is a list of essays I have published on this platform in the past decade. Topics include documentation of ascending and upper-register cadence gestures in European and European-influenced musics, studies of the major dominant ninth chord, and formal functions (after Caplin) in music by Mozart and his contemporaries.

An author search on the platform's home page will give two "David Neumeyer"s--they're both me:link 1 to 62 entries; link 2 to 23 entries.

Here are three other blogs I have written and maintained over the years: Ascending Cadence Gestures in Tonal Music; Dance and Dance Music, 1650-1850; Hearing Schubert D779n13.

Additions to the New Historical Survey series

The New Historical Survey is a series of essays on music with ascending lines and upper-register cadence gestures. I'm just now reaching the 19th century, where there can of course be significant overlap between this work and study of the major dominant ninth chord. (I'll write more about this in relation to these new essays in a subsequent post.)

The Survey has 5 parts: (1) a general introduction; (2) music to 1650; (3) 1650-1780; (4) 1780-1860; (5) 1860-US copyright barrier year. I am currently working on Part 4 and have added two new essays:

Ascending Cadence Gestures, A New Historical Survey, Part 4a1: 1780–1815. Link.

Abstract: This belongs to a multi-part essay series gathering compositions with ascending lines and upper-register cadence gestures in European and European- influenced music. Part 4 covers the period 1780–1860; this section is 1780–1815. Composers include, among others, Beethoven, Doche, Hummel, Mozart, Paisiello, Pecháček, J. A. P. Schulz, and Sterkel. Organ music compiled by Kaspar Ett concludes.

Ascending Cadence Gestures, A New Historical Survey, Part 4b3: Polkas, A Second Supplement. Link.

Abstract: This supplement has additional polkas from the 1840s and 1850s. Composers include, among others, Charles d’Albert, János Gungl, Charles Lenschow, Hans Christian Lumbye, and Johann Strauss, jr. An appendix is a list of all polkas discussed in this and previous essays,

Files in Part 4 that remain under preparation are 4a2 (Beethoven), 4c (instrumental music after 1820), 4e (songs: Schubert; after 1830), and 4f (music for the stage).

New publications

 I have published two items on the Texas ScholarWorks platform.

The Dominant Ninth in Music from 1900 to 1925, Part 3: link.

Abstract: This essay continues documentation of major V9 chords. Many examples have traditional resolutions, but some show more complex treatments in advanced styles of the period. Composers are Marion Bauer, Gabriel Dupont, Eleanor Everest Freer, Jerome Kern, James Scott, and Florent Schmitt. Five other pieces are from series intended for cinema performance. One song by Bud de Sylva and Gus Kahn is also included.

Dominant Ninth, Index to blog and essays: link.

Abstract: This file has three lists: (1) List of posts to the blog, On the Dominant Ninth Chord; (2) List of essays published on the Texas ScholarWorks platform; (3) Repertoire list for the essays.

Update/Administrative

I have placed a file called "Index to V9 blog and essays" on my Google Drive. The document's title is "On the Dominant Ninth Chord: (1) List of posts to the blog; (2) List of essays published on the Texas ScholarWorks platform; (3) Repertoire list for the essays." Link.

Here also is the complete text of an administrative post I put up on 11 February 2019:

[Blog introduction]  In the introductory post to this blog, I wrote that in studying cadence figures in the upper tetrachord of the scale, "I noticed the variety of treatments of scale degree ^6 as the ninth of a dominant ninth chord. This blog is intended to document some of those, especially in the essential 19th century European repertoires of the musical stage and music for dance." Link to the introduction.

[Types of the dominant ninth]  A subsequent post looked more closely at the different melodic and harmonic treatments of the dominant ninth: link to "On seven types of the dominant ninth."

[Gallery]  I also announced publication of an essay, Dominant Ninth Harmonies in the 19th Century: link to the post. Link to the essay on Texas ScholarWorks. This is intended as a gallery of simple (clear) examples from the repertoire.

Originally I said the blog would be limited to the major dominant ninth chord. I am focused now on music in the first quarter of the 20th century and, not surprisingly for the period, am finding the forms with lowered or raised fifth more often. That being the case, I will be including those forms occasionally if their presentations are of interest, even while continuing primarily to document the unaltered major dominant ninth chord. Cases in point are two of the songs by Marion Bauer discussed in recent posts: V9#5 in "Only of Thee and Me" (link to Part 2) and V9b5 in "Gold of the Day and Night" (link to Part 4).

The four ninth chord types are shown under (a) below. Under (b) I have repeated them with a traditional altered form (without root; for the major and minor dominant ninths) or a common voicing (for the raised or lowered fifth).

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.

Administrative

In the introductory post to this blog, I wrote that in studying cadence figures in the upper tetrachord of the scale, "I noticed the variety of treatments of scale degree ^6 as the ninth of a dominant ninth chord. This blog is intended to document some of those, especially in the essential 19th century European repertoires of the musical stage and music for dance." Link to the introduction.

A subsequent post looked more closely at the different melodic and harmonic treatments of the dominant ninth: link to "On seven types of the dominant ninth."

I also announced publication of an essay, Dominant Ninth Harmonies in the 19th Century: link to the post. Link to the essay on Texas ScholarWorks. This is intended as a gallery of simple (clear) examples from the repertoire.