- Pratarmė
- Foreword
-
Bert Van Herck.
Audiation: What to Listen for? -
Roger Redgate.
Do You Hear What I Hear? Audiation and the Compositional Process -
Miloš Zatkalik, Aleksandar Kontić.
Tunes of Today from the Island of the Day Before -
Rimantas Janeliauskas.
The Archetype of Binary Modality and its Audiation in the Practice of Composing: Manifestations of Ethnic Patterns in the First Half of the 20th Century -
Sigitas Mickis.
Targeting the Three Dimensions of Auditory Imagery in the Creative Process of Composing: Models of Rhythmic Expression -
Božena Čiurlionienė.
Prohibition versus Apotheosis of a Tritone: A Historical Perspective -
Raimonda Žiūkaitė.
The Audiation of a Triad and its Rejection in the Composing Process -
Andrius Maslekovas.
Peculiarities of Pitch Audiation in the Explorations of Sound Quality -
Aistė Vaitkevičiūtė.
Audiating Timbre: From “Inside the Materia” to a Textural Prototype -
Martin Vishnik.
Understanding and Interpreting Classical Guitar Morphologies within the Sound Sculpting Arena -
Maja Bosnić.
Technology Assisted Audiation in New Composing Practice -
Stephan Lewandowski.
“Organized Post-Tonality” and its Aural Perception. The Interaction of Primary and Composite Segments in Schoenberg’s Piano Piece Op. 23, No. 2 -
Mark Konewko.
Audiation and Improvisation as they Relate to Synesthesia in the Organ Music of Olivier Messiaen -
Alastair White.
“For me the greatest measure of a work of art is if it makes me feel uncomfortable or excites me sexually”: A Lacanian Reading of Michael Finnissy’s Verdi Transcriptions - Apie autorius / About the authors
Muzikos komponavimo principai XVIII: nuo audijavimo link komponavimo | 2018
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