This dissertation focuses on Woman's Works, a ten-minute orchestral piece composed by the author. In sonata form, the piece starts with an exposition containing melodic first and second themes separated by a polyphonic bridge. Material from the exposition then develops and recapitulates. As derived from issues raised by Woman's Works, harmony, its boundaries, the nature of contemporary harmony, and harmonic applications as perceived by the composer form the core of discussion. After substantial research into existing documentation on the subject and in-depth analysis of portions of Woman's Works, the essay offers the following conclusions: Timbre and harmony are not discrete but interactive properties. Texture and harmony interact in previously undiscovered ways. Harmony is a living language and as such evolves with culture. Contemporary media-influenced perception of consonance is 'place.' Dissonance is disjunction or 'noise.' However consonance and dissonance together, in the paradox of art, make a much greater 'place' than consonance alone. Sonata form is well-suited for the dramatic interplay of this composer's conception of harmony.