http://hdl.handle.net/10315/1276 2013-06-18T22:51:49Z http://hdl.handle.net/10315/20777 Towards an Ontology and Canvas for Strongly Sustainable Business Models: A Systemic Design Science Exploration Upward, Antony (Draft). An ontology describing the constructs and their inter-relationships for business models has recently been built and evaluated: the Business Model Ontology (BMO). This ontology has been used to power a popular practitioner visual design tool: The Business Model Canvas (BMC). However, implicitly these works assume that all designers of business models have a singular normative goal: the creation of businesses which are financially profitable. This limits the applicability and utility of these works. Further, these works perpetuate beliefs and businesses that do not create outcomes aligned with current natural and social science knowledge about long term individual human and societal flourishing, i.e. current outcomes are not strongly sustainable. This exploratory research starts to overcome these limitations: to create knowledge of what is required of businesses for strongly sustainable outcomes to emerge and to help business model designers effectively create high quality (reliable, consistent, effective) strongly sustainable business models. This research project extends the BMO artefact to enable the description all the constructs and their relationships related to a strongly sustainable business model. This results in the Strongly Sustainable Business Model Ontology (SSBMO). To help evaluate the SSBMO a practitioner visual design tool is also developed: the Strongly Sustainable Business Model Canvas (SSBMC). Ontological engineering (from Artificial Intelligence), Design Science and Systems Thinking methodological approaches were combined in a novel manner to create the Systemic Design Science approach used to build and evaluate the SSBMO. Comparative analysis, interviews and case study techniques were used to evaluate the utility of the designed artefacts. Formal 3rd party evaluation with 7 experts and 2 case study companies resulted in validation of the overall approaches used and the utility of the SSBMO. A number of opportunities for improvement as well as areas for future work are identified. Please note that this record is a placeholder for a Master's thesis which will be uploaded after final vetting by the Faculty of Graduate Studies at York University. (To be announced.) 2013-01-01T00:00:00Z http://hdl.handle.net/10315/18177 French-Canadian newspapers and imperial defence 1809-1914 Laxer, James 1967-01-01T00:00:00Z http://hdl.handle.net/10315/4516 The stylistic diversity of the concert saxophone Rubinoff, Daniel I. This thesis examines the sonic parameters and musical versatility of the concert saxophone. Invented in 1840, the instrument failed to become a regular member of the symphony orchestra, and is thus underrepresented in classical music. This researcher argues that the saxophone's unique sonic design makes it an effective contemporary instrument in a wide variety of genres. Specifically, the techniques of subtone, harmonics, and false fingerings are examined from both a performance and compositional perspective. Additionally, the instrument's resemblance to the human voice is documented. An examination of five original saxophone compositions highlights the instrument's flexibility as a solo instrument or as a member of an ensemble. This work adds to the number of original compositions for the saxophone and explores the reasons behind the instrument's success in contemporary music. 2007-07-01T00:00:00Z http://hdl.handle.net/10315/1373 The significance of corporeal factors and choreographic rhythms in Jamaican popular music between 1957--1981 (Ska, Rocksteady, Reggae), with an historical and critical survey of all relevant literature dealing with Jamaican folk, religious and popular musics and dance McCarthy, Leonard Joseph Most studies of Jamaican Popular Music (JPM)--Ska, Rocksteady, Reggae--only discuss sonic structures as isolated phenomena, with little consideration of correlationships between JPM sonic patterns and those of indigenous Jamaican Folk and Religious Music (JFRM). Most also pay insufficient attention to the role of corporeality in the characteristics, development and performance practices of Jamaican music. This study is in two parts. (1) An historical and critical survey of all relevant literature dealing with JPM and JFRM which examines the applicability of this work to this study's thesis, with new concepts and theories introduced where appropriate. A compendium structure organizes information by historical influences, genre, musicological characteristics, movement orientations and theoretical concerns, with comprehensive citations for each subsection. (2) Part Two consists of original musicological and movement analysis of 878 video performances by 299 JPM and JFRM artists. This research identifies particular couplings of sound and movement patterns, which Agawu (2003) calls choreographic rhythms (CRs). From these findings, this study's thesis emerges in four main points: (1) JPM and JFRM performers share similar, uniquely Jamaican CRs, which appear to account for the idiosyncratic rhythmic feel of most Jamaican music. (2) Jamaican CRs are rooted in neo-African musical traditions, which are themselves rooted in West and Central African musics.(3) Jamaican musical traditions are transmitted/acquired primarily via mimesis. (4) Enactivist research 1 about music perception/cognition and cultural environments explains how growing up in particular cultures develops CRs which shape the musical understanding and performance practices of people within cultural communities. This research explains why people have difficulty perceiving and executing foreign CRs because they intuitively utilize their own indigenous CRs instead. By integrating the material surveyed in Part One with the findings in Part Two, it is concluded that proper understanding Jamaican music requires consideration of corporeal, sonic and other cultural factors as gestalt unities. It follows that this approach could benefit the study of any music. The final chapter features a concordance of topics and themes examined in the entire study which functions as an index. 1 Enactivism is a branch of cognitive science which has emerged since the early 1990s. 2007-01-01T00:00:00Z