Question:
Harry Partch (June 24, 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave.
Partch made public his theories in his book Genesis of a Music (1947). He opens the book with an overview of music history, and argues that Western music began to suffer from the time of Bach, after which twelve-tone equal temperament was adopted to the exclusion of other tuning systems, and abstract, instrumental music became the norm. Partch sought to bring vocal music back to prominence, and adopted tunings and scales he believed more suitable to singing. Inspired by Sensations of Tone, Hermann von Helmholtz's book on acoustics and the perception of sound, Partch based his music strictly on just intonation. He tuned his instruments using the overtone series, and extended it past the twelfth partial. This allowed for a larger number of smaller, unequal intervals than found in the Western classical music tradition's twelve-tone equal temperament. Partch's tuning is often classed as microtonality, as it allowed for intervals smaller than 100 cents, though Partch did not conceive his tuning in such a context. Instead, he saw it as a return to pre-Classical Western musical roots, in particular to the music of the ancient Greeks. By taking the principles he found in Helmholtz's book, he expanded his tuning system until it allowed for a division of the octave into 43 tones based on ratios of small integers. Partch uses the terms Otonality and Utonality to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone. These six-tone chords function in Partch's music much the same that the three-tone major and minor chords (or triads) do in classical music. The Otonalities are derived from the overtone series, and the Utonalities from the undertone series.
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what is one of his theories?

Answer:
Partch made public his theories in his book Genesis of a Music (1947).

Question:
Lifehouse is an American rock band from Los Angeles comprising Jason Wade (lead vocals, guitar), Rick Woolstenhulme, Jr. (drums, percussion), and Bryce Soderberg (bass, vocals). The band came to mainstream prominence in 2001 with the hit single "Hanging by a Moment" from their debut studio album, No Name Face. The song was number one for three weeks on the Billboard Modern Rock Tracks chart and peaked at number 2 on the Billboard Hot 100 charts, and the single won a Billboard Music Award for Hot 100 Single of the Year, having spent twenty weeks in the top 10 and more than a year on the charts. In 2002, Lifehouse released their follow-up album Stanley Climbfall.
In 2000, Blyss re-recorded, remixed, and released twelve of the fifteen Diff's Lucky Day session demos as No Name Face, their debut major label release under the name of Lifehouse. On their choosing the band name, frontman Jason Wade said, "It's about what we do as a band and for me personally. Most of this record is about my life and about life's circumstances. Not only my life, but other peoples' lives. We thought Lifehouse was a good name for it." No Name Face met significant commercial success and established the band, and eventually would sell in excess of 4 million copies worldwide. This was in part due to the success of "Hanging by a Moment", Lifehouse's first commercial single. Due to the charisma and talent of frontman Wade, DreamWork Record's focus was primarily on him. "Hanging by a Moment" was the third song in chart history to be named the "No. 1 Song of the Year" on the Billboard Hot 100 despite not having reached No. 1 on any weekly Billboard Hot 100 survey (after Sam the Sham & The Pharaohs' "Wooly Bully" in 1965 and Faith Hill's "Breathe" in 2000). The second single from the album, "Sick Cycle Carousel", was not as commercially successful as "Hanging by a Moment", peaking at No. 35 on the Billboard Modern Rock chart; the third and final single was "Breathing", a reworking of a song featured on Diff's Lucky Day. The song "Everything" was the first of many Lifehouse songs to be featured in the future hit WB drama Smallville. Seven of the band's songs would be featured in episodes of the series' first four seasons, and the band itself would perform live at the Smallville prom at the end of the fourth-season episode "Spirit". The song "You and Me" would be released on the series' second soundtrack, Smallville: The Metropolis Mix, in an extended form, subtitled "Wedding Version" ("You and Me (Wedding Version)"). The song "Everything" was also used in the series' 200th episode, "Homecoming", in the show's 10th and final season, as an homage to the series pilot and first-season finale episodes. The song "Somewhere in Between", also from No Name Face, was featured in the first-season episode of Falcon Beach, "The Blame Game". By the time Lifehouse's first album was released, Palmer had left the band, and Wade and Andrade were the only remaining founding members. Soon after recording No Name Face, Wade and Andrade met Rick Woolstenhulme, who auditioned for the needed drummer part and joined the band as full-time drummer. Before the audition, Woolstenhulme had been rehearsing in an adjacent room to Lifehouse and frequently he and Wade would pass each other without meeting the other.
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When did the album debut?

Answer:
In 2000,