This thesis seeks to explore how geometry, music, and architecture can all interweave with each other. Music is based on the harmonic ratios of geometry. These relationships can also be used to inform the geometries of architecture. As with the aesthetics of music, architecture, too, is not an exact science that must follow rigid geometric rules. A work of music is made more beautiful when it smartly breaks the rules of order and gracefully bends the rules of harmony. Similarly, architecture can bend and break the rules. This is an academic exploration of creating a building form that starts with the rigid set of rules of harmonic geometry, but bends and breaks them by passing them through a filter of perspective to derive a new set of rules. / Master of Architecture

The work presented in this thesis documentation seeks to find harmony in color and form through painting, sculpture, and architecture. Proportion, composition, and rhythm are the means to such an endeavor. This harmony at which the work aims is that which resonates deep within the human spirit. This search is fundamentally related to ideas about visual perception and the body's reaction to it. / Master of Architecture

Emerging more than 3000 years ago - an era of hermit culture in China - private gardens played an important role in the development of Chinese culture. In this thesis, the essence of Chinese private gardens, especially the principles of their spatial organization, is used to direct the design. In a Chinese garden, the aim of spatial design was to create an experience of variety and change in a highly limited space. Gardens normally were made up of a series of spatial units, each with its own function and distinguishing characteristics through skilled manipulation of spaces, materials and plants. This Chinese Community Center was designed for the Association of Chinese Students and Scholars, the largest international organization on the campus of Virginia Tech. As the joining of the eastern and western culture, the building was designed by syncretizing the spatial organization of Chinese gardens and the form and material of western modern architecture. In my design, three units were introduced into the building. As to the spatial layout of the building, the garden was an open space; the exhibition area was enclosed; and the entrance corridor unit was partly open and partly enclosed as a transition. Three units organized the inter-penetrative spaces, integrating spatial units of different types and forms, and achieving diversity, contrast and harmony. Perforated aluminum panels with Chinese patterns were introduced into the entrance area to create a semi-open space, which gave the impression of Chinese architecture and culture identity. The method of the borrowing of scenery was also introduced in this unit. From the framed gate at the entrance, the balcony at the end of the building was connected visually with the beginning. At this point, the perforated panels contrasted with the solid concrete wall, symbolizing the contrast between tradition and modernity in time and space. Also, following the principle of Chinese gardens, two choices of touring the building were provided to visitors at the entrance: by entering the hall of the building or by going down to the garden directly by way of the wood stairs. The enclosed concrete unit served as the exhibition area, introducing Chinese culture and architecture to visitors. An interior bamboo garden was arranged in the middle of the unit, connecting the lower and upper levels. The color and the fragrance of bamboo were borrowed from the nature, being the focus of the whole unit. The two-story high tea area faced the trianglar bamboo garden outside, conveying a quiet feeling. Staying in the modern space with traditional Chinese culture and plants will be a great feeling for visitors, touching the spirits of antiquity and today at the same time. The open garden space in the center connected and separated the enclosed unit and semi-open unit. Because water in a garden was the artistic simulation of natural lakes in the basic concepts of Chinese gardens, a shallow water pond was arranged in the garden close to the main hall of the building, occupying one corner in the garden. A trianglar bamboo garden occupied another corner, leaving the central part for activities. Looking at the design as a whole, the paradox is that the three units were spatial divisions on the one hand, and at the same time spatial linkages on the other. Out of this complexity, the visitors will be delighted by the changing views as they stroll from one part of the building to another. / Master of Architecture

A thesis about the String Septet. The author explains that it deals with problems concerned in the reconciliation of contemporary aesthetics with extensions of romantic harmony, classical and pre-classical form, classical figuration and ornamentation, and contrapuntal organization.

The model-theoretic analysis of the concept of logical consequence has come under heavy criticism in the last couple of decades. The present work looks at an alternative approach to logical consequence where the notion of inference takes center stage. Formally, the model-theoretic framework is exchanged for a proof-theoretic framework. It is argued that contrary to the traditional view, proof-theoretic semantics is not revisionary, and should rather be seen as a formal semantics that can supplement model-theory. Specifically, there are formal resources to provide a proof-theoretic semantics for both intuitionistic and classical logic. We develop a new perspective on proof-theoretic harmony for logical constants which incorporates elements from the substructural era of proof-theory. We show that there is a semantic lacuna in the traditional accounts of harmony. A new theory of how inference rules determine the semantic content of logical constants is developed. The theory weds proof-theoretic and model-theoretic semantics by showing how proof-theoretic rules can induce truth-conditional clauses in Boolean and many-valued settings. It is argued that such a new approach to how rules determine meaning will ultimately assist our understanding of the apriori nature of logic.

The harmony of Vaughan Williams defies classification in terms of traditional harmony alone, making use as it does at times, of structures of superposed fourths, so-called "added-note" chords, and random sonorities, as will appear. Therefore, the chords will be placed into two principal categories of usage, traditional and non-traditional.

The problem of this study is to present a course in keyboard harmony based on the recitative style and figured bass of great works of music which can be used in the teaching of beginning and advanced college music theory.

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Thesis (M.A.P.S.)--Catholic Theological Union at Chicago, 2006. / Vita. Includes bibliographical references (leaves 61-64).