This study is an attempt to shed some light on the treatment of one dissonance—the seventh—in the works of the following composers: Cipriano de Rore (1516-1565); Philippe de Monte (1521-1603); Giaches de Wert (1535-1596); Luca Marenzio (1553-1599); Carlo Gesualdo (ca. 1560-1613); and Claudio Monteverdi (1567-1643). The purpose of this thesis is to discover (1) the frequency of occurrence of primary (relatively accented) sevenths and their inversions (^ chords, etc.) in a selection of each composer's madrigals; and (2) the methods of handling sevenths employed by each composer, with particular emphasis on the relationship between these methods and sixteenth century theory.

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Divergence of new and old technologies is a source of tremendous innovation potential. As the dizzying pace of technological innovation accelerates indefinitely into tomorrow, not only do new paths diverge exponentially; doors already opened are increasingly abandoned for the allure of things undiscovered. Mature, late-stage life-cycle products left behind in today's fast-paced world open the floodgates to reinvention. This paper tests the hypothesis that innovativeness can be encouraged through the learning and application of universal innovation principles and processes. The implications of this research area are far-reaching. If innovation can be encouraged, then it can likely be taught. If it can be taught, then it can be systematized. More pervasive systematic innovation will accelerate change in the world. Individuals and organizations that master this kind of innovation will gain tremendous competitive advantages. The more people innovate, the more opportunities to innovate there will be. Creativity begets creativity. The microcosm studied in this thesis -- that of discontinuous innovation applied to mature products -- underscores the promise of potential far grander. If innovators, whether in small businesses or large corporations, seeking to capitalize on existing products with proven demand can combine innovation with iteration to consistently produce value for product stakeholders, what could they do to disrupt products as we know them? How many new product categories would emerge? Finally, if ordinary people everywhere began seeing themselves as and acting like innovators, what would stop any of us from changing the world? This paper distills existing and original theories of innovation into a new model called Innovation Harmony. The Innovation Harmony model details four crucial aspects of innovation, which are 1) Harmonize the views of stakeholders, 2) Understand the principles of innovation, 3) Create a creative environment, and 4) Apply the principles of innovation (follow a methodology). The paper concludes with a summary of a case study conducted at Brigham Young University, wherein 17 students attempted to reinvent the conventional Waffle Iron in a controlled environment. Their innovations are presented in the Appendix. Relevant analysis and recommendations are discussed in conclusion.

This paper deals with the differing vocabulary between academic and player discussions when it comes to discussing gaming experiences. The main terminology that is explored is ludonarrative dissonance and ludonarrative harmony along with its usage. Ludonarrative design is connected to a handful of other terminologies such as environmental storytelling and agency, which in my research I take a look at how this affects the player and their experience. The research method is the creation and usage of a taxonomy of vocabulary to attempt to bridge the discussions between players, designers and academics.

Angesichts der zunehmenden Häufigkeit von Rechtsstreiten über musikalische Urheberrechtverletzungen, bei denen es um Millionenbeträge geht, scheinen Musiktheoretiker*innen gute Voraussetzungen mitzubringen, ihre esoterische Ausbildung für einen ausgesprochen praktischen Zweck einsetzen zu können, nämlich in Form sachlicher Expertise innerhalb einer “forensischen Musikforschung”, die “grundlegende Ähnlichkeiten” (substantial similarities, so der juristische Terminus) zwischen musikalischen Werken einschätzt. Dieser Artikel befasst sich mit einem kürzlichen derartigen Fall, “Skidmore v. Zeppelin et al.”, der aus dem Vorwurf entstand, dass der Beginn von Led Zeppelins Stairway to Heaven (1971) auf jenem von Taurus (1968) der Band Spirit beruhe. Die “grundlegende Ähnlichkeit” hierbei umfasst die absteigende Harmoniefolge der eröffnenden akustischen Gitarre, ein Ausschnitt aus einer Lamentobassfigur von der Tonika A fallend bis zum F (die Dominante E erscheint in einer oberen Stimme), eine Variante des Drooping-Modells im Rock. Nach einer Diskussion relevanter Details des Rechtsstreits, stelle ich kurz einen Abschnitt aus der Geschichte der Drooping-Figur im Rock vor, als Querschnitt berühmter Aufnahmen in den Jahren unmittelbar vor Led Zeppelins Platte. Mein Ziel ist es dabei nicht, den Rechtsstreit “Skidmore v. Zeppelin et al.” zu lösen, sondern vielmehr die entscheidenden Aspekte dieses Falls zu erhellen und die Rolle, die Musikologen in ihrer Bestimmung eingenommen haben. Abschließend argumentiere ich dafür, dass Musiktheoretiker_innen verstärkte Anstrengungen unternehmen sollten, um sich im Bereich der forensischen Musikforschung einzubringen, zum Wohle nicht nur der Gerichtsverfahren, sondern auch der Musiktheorie selbst, einer akademischen Disziplin, die in historischer Sicht selbst von ihren engsten Geschwisterfächern isoliert war, von der allgemeinen Öffentlichkeit gar nicht zu reden. / In light of the growing prevalence of multimillion-dollar musical copyright infringement litigation, music theorists seem positioned to use their esoteric training for a decidedly practical purpose: as an informed presence within “forensic musicology,” the practice of evaluating “substantial similarities” (the legal term) between musical works. This article examines a recent example of such litigation, “Skidmore v. Zeppelin et al.”, involving the accusation that the opening of Led Zeppelin’s Stairway to Heaven (1971) is based on Taurus (1968) by the band Spirit. The “substantial similarity” in question involves the opening acoustic-guitar descents, a partial lamento bass figure sinking from tonic A down to F (the dominant E appearing in an upper voice), a version of rock’s “drooping” schema. After discussing relevant details of the case, I briefly outline some of the history of rock’s drooping figure across multiple prominent recordings in the years immediately before Led Zeppelin’s record. My aim is not to solve the issues of “Skidmore v. Zeppelin et al.” but rather to shed light on what the issues in fact are in this particular case, and what role music scholars have played in their determination. In the end, I advocate that music theorists make a concerted effort to involve themselves in forensic musicology, to the benefit not only of the lawsuits but also of the profession of music theory itself, an academic discipline historically isolated from even its closest musicological siblings, let alone the general public.

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This companion of short essays, images and drawings are parts to a whole: a series of independent studies in search of architectural understandings. While this "project" has been underway for several years, until recently the thread of relevance between studies has been untethered. Now at the end, I come to the beginning of this book to suggest the emerging relevance to these studies: architectural harmony. And because the process of understanding is one of sorting things out, this compilation should be appreciated as such. Thus, it is by no means comprehensive or conclusive, despite its presence as a completed work. Indeed, the writing of this book is itself a sorting activity. It is not a report of absolute findings, supported by irrefutable references or statistical data points. Readers should therefore enter the book as a student, engaged in question making, discoursing with another also searching in these pages. Herein lies emerging positions, built up from root questions. Because of this, these positions will likely change with time and may never find absolute resolution. If forced to side with one position at this time, it must be the acknowledgement that there are many. Indeed, many valid positions exist and perhaps, more importantly, coexist. This is the nature of harmony as well. Harmony in architecture is less about notions of something specific, final or pleasing and is more about the poise of phenomenal states: where relationships of part to part and parts to whole form entireties whose identities are appreciable for more than their singularity or their totality. Because harmony is a ex post facto backdrop for these studies, it is not persistent theme throughout the book. Part 1 is dedicated to positions best described as taking stock; for example, taking stock of subjects, such as knots or the square; taking stock of situations and roles, such as modes of inquiry and the responsibility of design; taking stock of one's own dispositions, so to set out a consistent relationship between the players and the field of play. Part 2 describes the thesis project with demonstrations and words. Words are inevitable in discussing the work. They help articulate observations and defend design decisions and sensibilities. Some of these observations are described as if the project exists. But because an architectural thesis often uses demonstrations to provide examples in lieu of final constructions, it is hard to gauge the extent to which these speculations are imagined or drawn out by demonstration. The book concludes with Part 3. The thesis defense lecture is one distillation of harmony that closely examines a fragment of the project as an example of part and whole. Alas, it is in the very nature of using words to understand architecture, especially if the author of text and line are one in the same, that an author's a priori intentions and their a posteriori evaluations of the work are susceptible to mix. Further, such an author is faced with a paradox; on the one hand, he is the expert, on the other, he is in no position to claim ultimate authority. Compatibility between work and word exists partially in the mind and partially in the eyes. It is indeed difficult (perhaps impossible) to step outside the self enough to accurately compare and contrast word and work. With this point established, the work is not only subject to critique, but so is this evaluation of it. To conclude these preparatory remarks, as the direct benefactor of these studies, my appreciation of harmony in architecture is reaching that elusive position where, with each layer of understanding made clear, additional layers of opacity are encountered. In other words, questions are answered with yet more questions. For example, should harmony be understood as cause or effect? Does harmony exist out of time or completely in it? Thus, standard definitions are quite inadequate for architectural understandings of harmony. And while it might be helpful to break harmony down into digestible parts, this reductive inventory does not render a harmonic assembly. Furthermore, even the most lucid of explanations do not translate well into examples such to instruct. It seems the type of thing, perhaps like color, is best known through repetitive and thoughtful experience. This is just the start where even assumptions brought to the table must be checked. Despite these quandaries, my challenge for this book is to reveal something fundamental, albeit modest, to readers, and in the end, for architecture. / Master of Architecture

Ce travail de recherche propose une description du style mélodique et harmonique du groupe britannique Portishead et s’appuie sur l’analyse du répertoire complet, soit 33 chansons réparties sur trois albums (11 chansons par albums). Étant donné que le corpus étudié est restreint, il est possible de procéder à une analyse statistique qui permet de dégager une grammaire mélodico-harmonique. L’hypothèse de ce travail de recherche repose sur l’idée que l’évolution du langage musical de Portishead s’articule autour de procédés mélodiques et harmoniques favorisant un élargissement d’un cadre tonal équivoque. Pour ce faire, Portishead a recours à plusieurs procédés mélodiques et harmoniques qui entretiennent l’équivoque tonale. Or, ces procédés sont similaires, sans toutefois être identiques, aux six procédés répertoriés par Sylvain Caron (Caron 2002) au sujet de la grammaire de Gabriel Fauré. Par la mise en œuvre de plusieurs outils d’analyses, nous procédons à une étude comparée et contextualisée de certains mécanismes mélodique et harmonique qui font émerger l’équivoque, tant chez Fauré que chez Portishead. Ces outils d’analyse, comme l’analyse des vecteurs de ruptures mélodico-harmoniques, l’analyse paradigmatique ou l’analyse néo-riemannienne, ont été bonifiés afin de rendre compte de certaines particularités liées au corpus étudié. Ce travail de recherche est divisé en deux parties précédés d’une introduction, d’une notice biographique et d’une revue de littérature analytique. La première partie se divise en trois chapitres et s’intéresse spécifiquement au traitement mélodique équivoque. La deuxième partie, constituée des deux derniers chapitres, abordent les procédés d’équivoque harmonique. Ce travail de recherche a démontré que même si un siècle sépare les compositions de Gabriel Fauré et Portishead, l’équivoque se manifeste par une grammaire musicale commune. Nous constatons aussi que l’équivoque articule le discours formel et conditionne les rapports structurants de tension – détente de l’œuvre. / This research provides a description of the melodic and harmonic style of the British band Portishead. It is based on analysis of the full repertoire or 33 songs over three albums (11 songs per album). Since the entire corpus is analyzed, one may be able to detect chronologically trends and perform statistical analysis of the evolution of the melodic- harmonic grammar and aesthetics of the group. The hypothesis of this research work is based on the idea that the evolution of the musical language of Portishead revolves around melodic and harmonic processes favoring an expansion of tonal ambiguity frame. To do this, Portishead uses several melodic and harmonic processes that maintain tonal ambiguity. However, these processes are similar, but not identical, to the six processes listed by Sylvain Caron (Caron 2002) about the grammar of Gabriel Fauré. For the implementation of various analysis tools, we perform a comparative and contextualized study of certain melodic and harmonic mechanisms that brings out the ambiguity, both in Fauré than Portishead. These analysis tools, such as analysis of melodic-harmonic vectors of ruptures, paradigmatic analysis or neo-Riemannian analysis were enhanced to reflect certain particularities of the studied corpus. This research consists of two parts preceded by an introduction, a manual and a review of literature analystique. The first part is divided into three chapters and focuses specifically on clear melodic treatment. The second part, consisting of the last two chapters address the ambiguity of harmonic processes. This research has shown that even if a century separates the compositions of Gabriel Fauré and Portishead, ambiguity is manifested by a common grammar. We also notice that ambiguity revolves formal speeches and determines the structuring of tension – release relationships.