Умаленият и полуумаленият септакорд и доминантовият нонакорд в стилистичния метод на преподаване на хармония на Дитер де ла Мот
The Diminished and Half-Diminished Seventh Chord and the Dominant Ninth Chord in Diether de la Motte’s Stylistic Method of Teaching Harmony

Summary/Abstract: Diether de la Motte’s Harmonielehre (1976) differs significantly from traditional harmony textbooks by applying the author’s stylistic method. This becomes evident already in the textbook’s table of contents, which is structured in an unusual way – it shows the material chronologically by epochs and composers, as opposed to listing it systematically by harmonic structures. Through the consistent application of his stylistic method, Diether de la Motte made a significant contribution to the historicization of music theory. The present article examines De la Motte’s approach to the diminished and half-diminished seventh chord and the dominant ninth chord, the history of which is traced throughout various chapters and sections of the Harmonielehre in relation to the oeuvre of certain composers.

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