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The thesis begins from the claim that harmony is shaped by both the physical behavior of sound and the historically contingent systems through which that sound is interpreted. While just intonation reveals the acoustic basis of consonance through simple whole-number ratios, its structural limitations make it difficult to sustain as a universally flexible compositional system. Equal temperaments, by contrast, sacrifice intervallic purity in order to gain internal consistency and transpositional freedom. Rather than treating these systems as mutually exclusive, this thesis argues that each reveals different aspects of harmonic possibility.</p><p>To articulate this broader perspective, the thesis introduces a mathematical and structural approach to harmony grounded in frequency ratios, prime limits, and prime-exponent vectors in multidimensional prime space. Within this framework, intervals and chords can be compared across tuning systems according to pitch proximity, harmonic complexity, and directional similarity in prime space. From this model emerges the concept of the gate chord: a sonority whose structurally central intervals admit sufficiently close counterparts in multiple tuning systems, allowing for perceptually continuous cross-system modulation.</p><p>These theoretical ideas are then tested through an accompanying recital of five works that explore structured improvisation, retuning technology, and polymicrotonal interaction. Across these pieces, the project demonstrates that unfamiliar tuning systems need not function only as abstract or alien sonic materials, but can support emotional depth, technical prowess and expressive richness. Ultimately, Faultline Harmony argues that harmony is best understood not as a closed language internal to any one system, but as an open relational field whose expressive possibilities expand through movement among systems.</p>"},{"label":"Digital Identifier","value":"b2026-Libsch"},{"label":"Digital Object Identifier (DOI)","value":"https://doi.org/10.14418/j14y7lo4"},{"label":"Digital Origin","value":["born digital"]},{"label":"Discipline","value":["Music"]},{"label":"Date","value":"April 15, 2026"},{"label":"EDTF Date","value":"D:00 M:00 Y:2026"},{"label":"File Format","value":["application/pdf"]},{"label":"Genre","value":["theses"]},{"label":"Group","value":["Theses & Dissertations"]},{"label":"Held By","value":"Wesleyan University Library, Wesleyan University, Middletown, CT, USA"},{"label":"Language","value":["English"]},{"label":"Repository","value":["University Archives"]},{"label":"Rights","value":["In Copyright"]},{"label":"Thesis Advisor(s)","value":["Praznik, 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