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This thesis explores various connections between multiple zeta values and modular forms of low level. In the first part, we consider double zeta values of odd weight. We generalize a result of Gangl, Kaneko and Zagier on period polynomial relations among double zeta values of even weights to this setting. This answers a question asked by Zagier. We also prove a conjecture of Zagier on the inverse of a certain matrix in this setting. In the second part, we study multiple zeta values of higher depth. In particular, we give a criterion and a conjectural criterion for "fake" relations in depth 4. In the last part, we consider multiple zeta values of levels 2 and 3. We describe one connection with the Hecke operators T₂ and T₃, and another connection with newforms of level 2 and 3. We also give a conjectural generalization of the Eichler-Shimura-Manin correspondence to the spaces of newforms of levels 2 and 3.

Schubert's treatment of the medial caesura differs on many levels from that of the Classical tradition. He problematizes many of its norms, introducing complications to the course of his sonata movements. Much research has been devoted to Schubert's approach to sonata form, his large-scale formal deformations as well as his innovative harmonic language. However, few of these writings have discussed the importance of the medial caesura to his sonata forms. Through the lens of Sonata Theory, this dissertation examines Schubert's handling of the MC, demonstrating how the complications derived from his unorthodox practice modify the structural and rhetorical layout of his pieces. I investigate Schubert's approach to three stages surrounding the MC articulation, TR and the energy-gaining process, the MC point of articulation, and the S-theme, discussing specific formal and rhetorical complications that arise from each of them. In chapter 1, I reconsider Schubert's MC practice from a dialogical perspective, demonstrating how some non-normative procedures (in Classical terms) became the norm within his own style. In chapter 2, I examine the impact of two common Schubertian procedures on the function, perception, and meaning of the MC: tonally over-determined TRs and the early arrival of the secondary key within TR. Finally, in chapter 3, I demonstrate how Schubert broadened the available cadential arrangements within MC pairs in declined-MC situations, exploring the expressive potential of normative/non-normative dual oppositions. The conclusion shows that 1) Schubert's stylistic preferences radically expand many of the default procedures posited by Sonata Theory, inviting refinements of the theory; and 2) that the Schubertian MC may incorporate two structural roles beyond its most fundamental function as a formal articulator: clarification of the function of a formally ambiguous passage, which is often connected to cases of tonal over-determination or the early arrival of the secondary key; and introduction of tonal and formal complications into the work's trajectory, invoking some kind of "correction" or compensation.

The central claims of this study are that Maria Schneider relies on normative rhythmic structures from the jazz tradition, and that her expressive deviations from those norms are comprehensible to experienced listeners in real time. The study proposes a non-recursive model of hypermeter wherein the measure is formed through entrainment, the four-bar sub-unit is formed through recognizable qualia at the measure level, and the eight-bar level is formed through the expectation for sub-units to group into pairs. I introduce the “structural phrase” as a unit that, while normatively hypermetrical, is distinct from the issue of hypermeter in its formal aspects and its ability to diverge from hypermetrical organization. Structural phrases mediate our sense of place in the music, and they most often begin with an audibly clear attentional peak that I call the “structural phrase onset.” I posit that experienced listeners understand how structural phrases operate in Schneider’s compositional style through awareness of the relative frequency of each structural phrase type. Based on data gathered from a corpus of twenty-four pieces, comprised of 1,105 structural phrases, I find that 61% of Schneider’s structural phrases are normative. Further, the influence of the normative structural phrase supersedes its literal appearance on the surface of an acoustic signal, serving as the conceptual background for nine dialogic deviations: 31% of structural phrases are deviational yet operate in direct dialogue with the norm. Only three deviation types, accounting for 8% of structural phrases, are entirely independent of the normative organization. Structural phrases function as shallow-level formal units that group into deeper levels. This study categorizes Schneider’s formal approach as a hybrid between two practices: (1) traditional big band arranging, in its emphasis on improvised solos and idiosyncratic features such as the “ensemble feature” section; and (2) sonata form, in its motivic-thematic emphasis, freely unfolding sectional organization, and broadly three-part design. I refer to the three parts at the deepest structural level as “three-Spaces,” including Exposition, Solo, and Recapitulation Spaces. These Spaces are comprised of seven types of sections at a lower structural level: introduction, expositional, transition, soloistic, ensemble feature, recapitulative, and coda sections. Three “formal division criteria” specify how these sections audibly signal divisions between the deeper-level Spaces. An in-depth analysis of Hang Gliding explores how rhythm at multiple structural levels interacts with other parameters such as pitch, orchestration, and dynamics, to shape a composition’s dramatic arc.

Musica Stellarum is an original composition for full symphony orchestra. It seeks to evoke the life of a star from its birth in a gaseous nebula to its death as a massive supernova using musical parallels. The chemical processes involved in stellar nucleosynthesis are represented through an exploration of TC relationships. Lighter elements are represented by smaller pitch class sets and as they combine together through processes such as inversion and transposition, larger, "heavier" sets are created. Elements of Sonata Form and a strong structural emphasis on Golden Section (GS) relationships are also major features of Musica Stellarum. Section and phrase length are determined by GS measurements of time. This piece also uses delayed aggregate completion to build tension. Inspired by a theory by astrophysicist Dr. Adam Burrows, who argued that supernovae could be triggered by sound waves resonating at approximately F4, the F above middle C is used to complete the aggregate at the climax of the piece.

This study investigates possible connections between shapes, colour, lines, contrast and perceived traits of game characters from their appearance. The study is based on nine pictures of game characters where the characters were interpreted using formal analysis based on theories of shapes, lines and colour components such as hue, value and saturation. A survey was also conducted with 73 respondents who specified each character’s traits with three words. The study shows that there is a larger connection between shapes and characteristics than colour, where the descriptions of the characters were more scattered. Lines, contrast and warm and cool colours generally do not have any noticeable effect on the result. / I denna studie undersöks eventuella samband mellan former, färg, linjer, kontrast och egenskaper som uppfattas kring spelkaraktärer utifrån sitt utseende. Studien utgår ifrån nio bilder av spelkaraktärer där karaktärerna tolkats i en formell analys utifrån teorier om form, linjer och färgens beståndsdelar så som nyans, ljusstyrka och mättnad. En undersökning utfördes även på 73 respondenter som fick specificera varje karaktärs egenskaper med tre ord. Studien visar att det finns ett större samband mellan former och karaktärsdrag, än färger där beskrivningen av karaktärerna var mer splittrad. Linjer, kontrast och varma och kalla färger har i allmänhet inte haft någon större inverkan på resultatet.

In recent decades, a number of philosophers have sought to explain the nature of human action using Aristotle’s theory of material constitution. According to these neo-Aristotelian accounts, material objects serve as the paradigm cases for analysing the concept of action. As composites of matter and form, material objects—and, in particular, biological organisms—possess a kind of constitutive unity: they are “hylomorphic wholes”. The same kind of unity purportedly exists with regard to actions, which are constituted likewise. My task in this paper will be to give a precise articulation of this thesis and what it entails. If the neo-Aristotelian claim is right, then material objects really do serve as the paradigm cases for understanding the constitution of action. In Chapter III, I will simply presume the truth of this general claim, in order to focus my attention on the relative merits and weaknesses of specific arguments given in support of it. Before considering these arguments, however, we will need to first clarify Aristotle’s thesis concerning material objects. This will be my aim in Chapter II. In general, I will accept the conventional Aristotelian position that a material thing, qua concrete substance, is constituted by substantial form in matter, a unified whole. I will presume as correct the Thomistic conception of such composites, which employs the distinction between act and potency: matter is pure potentiality for the reception of form, and form is “a determinate actualisation of this potentiality”. / text

<p>The present dissertation takes the multi-faceted phenomenon of deception as its point of departure. The aim is to make a case for deception as a social phenomenon, and to frame theoretically and define the skills and abilities that make deception possible.</p><p>A theoretical model based on a number of ideal types is constructed. The purpose of the model is to differentiate particular aspects of deception, and the model is illustrated with examples of actions of more or less well-known impostors. The examples were collected from a variety of sources, such as autobiographies and television programs.</p><p>As a first step, the legal definition of deception, i.e. fraud, and statistics on crimes of deception in Sweden are presented. Different theoretical approaches are also discussed; deception as a personality trait, and deception as communication and interaction.</p><p>In order to illuminate the social dimensions, it is emphasized that deception constitutes a particular type of relationship between deceiver and deceivee. This particular form of interaction exploits elementary forms, and it is also asymmetrical in terms of the intentions of the parties involved.</p><p>The concept of social competence is used to describe the skills and abilities required for successful acts of deception. It is argued that the social competence of deceivers consists of three types: strategic, normative, and dramaturgic competencies. The strategic competency involves being goal-rational and strategic, for example, the ability to predict the actions of the potential addressee. In the normative competency, norms and reference to norms are used strategically. The dramaturgic competency represents an operationalization and enactment of the two other competencies, and resembles the preparation and performance of an actor.</p><p>The different contexts in which deception can occur are also discussed. A preliminary typology is presented, with the aim of demonstrating the difficulties in drawing clear lines between various types of deception. The extended approach to deception also means that it can be viewed as a part of everyday social interaction.</p><p>Finally, some thoughts on deception in the light of societal changes are presented. It is argued that the increasing demands on people to promote themselves in various ways in today’s society can be perceived as an invitation to deception and fabrication. These demands can generate feelings of inferiority and a fear of eventually being unmasked as an impostor, or a phony.</p>

This dissertation examines the growth of environmentally sustainable commercial building practices as a voluntary, market-based standard called Leadership in Energy and Environmental Design (LEED), created by the US Green Building Council. I address how environmental ideals became institutionalized and integrated into the design and construction of commercial buildings through the growth of this standard. My goal is to discuss the site at which an ideal becomes a part of organizational practice and to discuss mechanisms by which social movement ideals become institutionalized without the state as a coercive force.First, I look at the historical context in which the environmental movement and the green building movement emerged to see understand adoption of voluntary market-based standards. The USGBC was able to bring together three disparate forms: environmental ideals, the creation of a voluntary standard and a market-based profit focus. I examine how the decentralized environmental movement, the rise of "third wave" environmentalism and corporate strategic environmentalism and a lack of political opportunity made this new form a useful strategy for the movement. Then I examine the importance of the LEED AP accreditation program as a mechanism for integrating green practices into professional work by socializing them through three frames, the LEED system, integrated design and high efficiency buildings. I introduce a new model called hybrid professionalization to explain the integration of social movement ideals across an industry and with a variety of professional groups. Finally, I turn to the demand side of the field to examine the role of organizational consumers and their strategies to rationalize green building to stakeholders. I discuss various ways that green buildings allowed organizations to display and enact their greenness.