<html><body><div style="color:#000; background-color:#fff; font-family:times new roman, new york, times, serif;font-size:12pt"><div><span>If solmization is considered an aspect of music theory (indeed, Guido was mentioned in this thread), Sarah Ann Glover would be a prime candidate. Her Norwich method was adapted by John Curwen, whose closely related tonic sol-fa method took root throughout the British Empire: a very rich topic in the history of applied music theory for an undergraduate to research. </span></div><div><span><br></span></div><div><span>Jay Rahn, York University (Toronto) </span></div><div><br><blockquote style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"><div style="font-size: 12pt; font-family: 'times new roman', 'new york', times, serif; "><div style="font-size: 12pt; font-family: 'times new roman', 'new york', times, serif; "><font size="2" face="Arial"><hr size="1"><b><span
style="font-weight:bold;">From:</span></b> Andrew Westerhaus <westeraj@gmail.com><br><b><span style="font-weight: bold;">To:</span></b> John Snyder <JLSnyder@uh.edu><br><b><span style="font-weight: bold;">Cc:</span></b> smt-talk <smt-talk@societymusictheory.org><br><b><span style="font-weight: bold;">Sent:</span></b> Sunday, October 16, 2011 10:13:20 PM<br><b><span style="font-weight: bold;">Subject:</span></b> Re: [Smt-talk] Female theorists in history<br></font><br><div id="yiv1523337489">Dear John (and list),<div><br>Regarding the original posting, there is a rather obscure pedagogical treatise by a female Scottish theorist that uses games to teach elementary music theory and dates from 1803: <br><br>Anne Gunn (late Young), <i>An introduction to music in which the elementary parts of the science, and the principles of thorough bass and modulation, as illustrated by the musical games and apparatus, are fully and familiarly
explained, with copious examples: together with a description of the apparatus, compleat directions for playing the several games, with introductory and additional games, illustrating the different cliffs on a plan entirely new</i> (Edinburgh: Muir, Wood and Company, 1803). [OCLC: 45716748]</div>
<div><br></div><div>Cheers,<div>Andrew</div><div><br></div><div>----------</div><div>Andrew Westerhaus</div><div>Ph.D. candidate, History and theory of music</div><div>University of Chicago</div><div><a rel="nofollow" ymailto="mailto:westeraj@uchicago.edu" target="_blank" href="mailto:westeraj@uchicago.edu">westeraj@uchicago.edu</a></div>
<div><br></div><div><div><br></div><div>On Thu, Oct 13, 2011 at 1:43 PM, John Snyder <<a rel="nofollow" ymailto="mailto:JLSnyder@uh.edu" target="_blank" href="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a>> wrote:<br>> Dear Collective Wisdom,<br>><br>> A student, looking for a paper topic, has inquired about the possibility of<br>
> writing<br>> on a female theorist (or several), in historical context. I know a number of<br>> outstanding<br>> female theorists, but must admit that all of them are living, and wouldn't<br>> make<br>
> good subjects for the paper in question. Help, anyone?<br>><br>> Best,<br>><br>> John<br>><br>> --<br>> John L. Snyder<br>> Professor of Music Theory and Musicology<br>> Moores School of Music<br>
> University of Houston<br>> <a rel="nofollow">713-743-3143</a><br>> <a rel="nofollow" ymailto="mailto:JLSnyder@uh.edu" target="_blank" href="mailto:JLSnyder@uh.edu">JLSnyder@uh.edu</a><br>><br>> _______________________________________________<br>
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