This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research. / Music Performance / Accompanied by one compressed .zip file.

Research on memory often describes the remarkable longevity of music. However, memory for music is not uniform. Cook (1987) found that participants were not able to tell apart excerpts that modulated from those that did not when the excerpt was longer than 1 minute in length. This suggests that participants were no longer able to remember, and compare, musical keys after a relatively short period of time. Farbood (2016) and Woolhouse et al. (2016) further explored the limitations of memory for tonal structures finding that, in fact, harmonic memory only lasts up to 21 seconds after modulation. However, this research was done using homophonic stimuli—arpeggios or quarter-note chords—that may not be representative of the music participants would be listening to regularly. The focus of this project was to explore how the addition of certain musical features, such as melodic or rhythmic figurations, may influence harmonic memory. Observing these possible influences may provide us with insight into the processes responsible for auditory memory and how it differs from other domains, such as speech or vision. Chapter 1 explores prominent memory literature and music cognition experiments that support, or address concerns with, common memory models. Here, I introduce a cognitive system which reconciles music research with models by memory specialists such as Baddeley and Snyder. Chapter 2 presents a detailed account of background empirical literature, including Farbood (2016) and Woolhouse et al. (2016). Though fundamental to the exploration of temporally nonadjacent harmonic memory, this research is potentially limited in its generalizability due to the homophonic nature of the stimuli. Chapter 3 explores this limitation by testing the effects of adding surface features—melodic and rhythmic components often used for elaboration in composition—on memory for large-scale tonal structures. Results found that harmonic memory is, indeed, enhanced and prolonged by these elaborative components, lasting up to 33 seconds, well past the limit found in previous research. Farbood (2016) further claimed that harmonic memory is significantly interrupted by new, highly harmonic excerpts. However, results from Woolhouse et al. (2016), Spyra et al. (2021) and those from Chapter 3 all question this claim as they employed stimuli that was highly harmonic. Chapter 4 investigates the contradiction by testing whether functional diatonic, functional chromatic, or random sequences degraded harmonic memory for an original key. Functional diatonic intervening information resulted in increased harmonic memory, directly contradicting Farbood’s original findings. In Chapter 5, these results are explored in terms of prominent memory models in the field of cognition, supporting standard models of memory such as that by Baddeley and Hitch (1974) or Atkinson and Shiffrin (1968), as well as my proposed cognitive system. This is further elaborated by discussing the process of undergoing a musical judgement task from perception through to decision-making. In summary, this project suggests that more generalizable stimuli containing realistic musical features produce a significant boost in harmonic memory. Furthermore, this arguably calls into question standard practices in analysis that categorize surface features as hierarchically less important than ’deeper’ harmonic events, and thus, potentially less important from a cognitive perspective. Which is to say, this evidence suggests that these features may play a vital role in remembering nonadjacent harmonic structures. / Dissertation / Doctor of Philosophy (PhD) / Memory for music is often celebrated for its longevity. Music is a complex stimulus, however, and not all of its characteristics are remembered equally well. Past research has found that participants were not able to remember musical keys after a surprisingly short period of time: Farbood (2016) and Woolhouse et al. (2016) found that harmonic memory—i.e., memory for a key—lasts up to 21 seconds after a key change. Compared to nursery rhymes remembered from childhood bedtimes, this is remarkably limited. Yet this research did not fully explore which musical characteristics affect harmonic memory as it was done using simple musical stimuli: compositions made of blocks of chords. Whereas a string of chords might sound pleasant, it may not be representative of the type of music that people listen to regularly (with complex melodies and instrumentation). The focus of this project was to explore musical factors, such as melodies or rhythms, and measure how they interact with musical memory. Observing specific aspects of the stimulus gives us a window into the complexities of human memory, particularly that of the auditory domain. Chapter 1 provides an overview of memory literature with a focus on common memory models and the musical research that supports them or contributes to their development. Here, I propose a cognitive system which integrates prominent models that otherwise describe different stages of processing complex auditory stimuli. Chapter 2 presents a detailed account of background empirical literature. This provides a basis for a series of experiments outlined in Chapters 3 and 4. These experiments investigate how components of music influence harmonic memory. Components include Surface Features, or ornamentations in music such as melodies or rhythms, and Harmony, the structure of the key itself which can make an excerpt sound more, or less, familiar. Results suggest that memory is significantly enhanced and prolonged by the addition of surface features. Furthermore, harmony that most resembles culturally familiar compositional practices also provides a memory boost when compared to random or somewhat ambiguous sequences. In Chapter 5, the implications of these results are explored with regards to the general memory models discussed in Chapter 1. Results support standard models of memory and my proposed cognitive system, as demonstrated by following the processing of my experimental musical stimuli from sound to executive function. This project suggests that more complex and musically realistic stimuli produce a significant memory boost. This puts into question traditional practices in music analysis which separate surface features into hierarchically less important positions when, in fact, the musical surface may be vital to our processing of auditory stimuli.

Introduction: Can the choice to start with either harmony or drums affect a music production and, in such case, how? How could one analyze this? This thesis intends to try to answer just that by investigating the differences that arise when I start a music production with either harmony or drums. To analyze the differences, I created my own model for analysis that I call the Miki model.  Aim: The aim of this thesis is to investigate if and in such case what differences arise in harmony, rhythm and arrangement in a song depending on whether I start the music production with harmony or drums. The aim is also to help understand this possible correlation by attempting to create a new model for analysis that can both be tested and further developed to analyze the impact of a certain approach at the beginning of a music production. Methodology: For this project, I made an EP consisting of four songs. Two of the songs started off with harmony production while I began the other two with drum production. In order to analyze the results, I created a model for quantitative analysis by setting up five different aspects that I consider to be important when measuring the impact of starting with harmony or drums when creating a music production: number of chords and colored chords, number of drum elements, if the number of drum elements was altered during the song, and if the number of chords was altered during the song.  Results: The Miki model was applied to each song on the EP. In this way I was able to examine the differences that had arisen in the harmony, the rhythm, and the arrangement in each song. The results showed an increased number of chords in the songs where the production was started with harmony. It also showed that the number of drum elements was increased when the production was started with drums. The number of colored chords was not significantly different, and the arrangement was not noticeably affected either.  Reflection: Even though the results showed an increased number of chords when starting with harmony and an increased number of drum elements when starting with drums, it was hard to draw the conclusion that the result depended on the respective approach. It was rather more likely because of the desire to make the first element in the production interesting enough to stand by its own, which made it take a lot of room in the sonic space. That in turn left less room for other elements.

The thesis attempts to make an integrative and healing therapy center, employing a salutogenic approach to health and wellness. Salutogenesis is an approach that focuses on promoting a healthy lifestyle and prevention of disease through the creation of supportive environments. The project is based on the proposition that architectural and environmental elements can influence mental and physical well-being. The research explores how elements like light, water, structure and material can be employed to promote the energy flow in space, thus enhancing the healing quality of the environment. It dives into the concept of energy states within spaces and humans influenced by natural and architectural elements. The need for such a therapeutic center is derived from the increasing emphasis of the impact of healthy living and focus on mental health and as growing interest in preventive health measures. The thesis aims to study the role of architecture, and its influence on the harmony and holistic well being. It also dwells on the design choices like lighting, material selection, use of water features and structure can lead to creation of healing and therapeutic environments. It also emphasizes on open areas which could help in self reflection and relaxation. / Master of Architecture / The thesis attempts to make an integrative and healing therapy center, employing a salutogenic approach to health and wellness. Salutogenesis is an approach that focuses on promoting a healthy lifestyle and prevention of disease through the creation of supportive environments. The project is based on the proposition that architectural and environmental elements can influence mental and physical well-being. The research explores how elements like light, water, structure and material can be employed to promote the energy flow in space, thus enhancing the healing quality of the environment. It dives into the concept of energy states within spaces and humans influenced by natural and architectural elements. The need for such a therapeutic center is derived from the increasing emphasis of the impact of healthy living and focus on mental health and as growing interest in preventive health measures.

Constructed in his self-acknowledge hometown of Richland Center, Wisconsin, Frank Lloyd Wright was to work on the A.D. German Warehouse twice during his lifetime. Initially constructed between 1917 and 1921, financial woes on the part of the owner led to a shuttered building. In 1934 Wright worked on an adaptive reuse, but the plans were never to be implemented and German lost the building for good. A careful study of the history of the structure, foregoing todays computers for Wrights triangles, and an analysis of the frieze led me to my own adaptive reuse. The musical characteristics of harmony and countperpoint found powerful expression in the pairings of vertical and horizontal, light and dark, and new and old. These relational tensions resonated with the internal structure of the transformational geometry and created a powerful resolution between the enclosing massive forms of the original Warehouse and my new design. / Master of Architecture

This study attempts to show the relationship of Hindemith's harmonic theories and practice in the revision of Das Marienleben, op. 27. The study is based on Hindemith's The Craft of Musical Composition, commentaries on Hindemith's application of his theories, and analyses of Das Marienleben. Chapter One concerns Hindemith's contribution as a theorist, including a synopsis of his harmonic theories, and his application of the theories in his compositions. Chapter Two concerns Das Marienleben itself, including general information about the work and its revision, and an analytical comparison of its two versions. Chapter Three concludes that Hindemith made improvements in the new version in accordance with his harmonic theories through replacing ambiguous harmony with carefully controlled fluctuation and clearly defined tonalities.

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The purpose of this paper is to discover the environmental characteristics of the "Mystic Chord" in the first four Sonatas for Piano by Alexander Scriabine. This paper explores the manner of approach, manner of resolution, harmonic function, position, melodic function, and rhythmic position of the "Mystic Chord".

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The songs of Hugo Wolf represent the culmination of the Romantic German Lied tradition. Wolf developed a personal chromatic harmonic style that allowed him to respond to every nuance of a poetic text, thereby stretching tonality to its limits. He was convinced, however, that despite its novel nature his music could be explained through the traditional theory of harmony. This study determines the degree to which Wolf's belief is true, and begins with an evaluation of the current state of research into Wolf's harmonic practice. An explanation of my analytical method and its underlying philosophy follows; historical perspective is provided by tracing the development of three major elements of traditional theory from their inception to the present day: fundamental bass, fundamental chords, and tonal function. The analytical method is then applied to the works of Wolf's predecessors in order to allow comparison with Wolf. In the investigation of Wolf's harmonic practice the individual elements of traditional functional tonality are examined, focusing on Wolf's use of traditional harmonic functions in both traditional and innovative ways. This is followed by an investigation of the manner in which Wolf assembles these traditional elements into larger harmonic units. Tonal instability, rapid key shifts, progressive tonality, tonal ambiguity, and transient keys are hallmarks of his style. He frequently alters the quality of chords while retaining the function of their scale-degree root. Such "color" chords are classified, and their effect on harmonic progression examined. Wolf's repetitive motivic style and the devices that he employs to provide motion in his music are also discussed. I conclude by examining Wolf's most adventuresome techniques—including parallel chords successions, chromatic harmonic and melodic sequences, and successions of augmented triads--and the suspension of tonality that they produce. This project encompasses all of Wolf's songs, and should be a useful tool for Wolf scholars and performers, students of late nineteenth-century music, the music theorist, and for anyone interested in the concept of harmony as a stylistic determinant.