- Pratarmė / Foreword
-
Markos Lekkas.
The Rational Deception of Intuition -
Miglė Miliūnaitė.
Aesthesis versus Logos: Two Doctrines of Music and Possibility of Reconciliation -
Aleksandar Kontić, Miloš Zatkalik.
Regression in Music or How to Communicate the Ineffable -
Rimantas Janeliauskas.
Quaternion of the Oppositional Rhythmic Archetypes, Based on the Examples of Lithuanian Folk and Contemporary Music -
Bert Van Herck.
Pitch and Harmony: A (Rational) Method Based on (Intuitive) Aural Experience -
Manos Panayiotakis.
From Massive Clouds to C major: Aspects of Tension and Release in Krzysztof Penderecki’s Polymorphia -
Mark Konewko.
Intuition and Rationality in Olivier Messiaen’s La Nativité du Seigneur -
Arthur Kaptainis.
Intuiting the Rational: Marc-André Hamelin’s Toccata on “L’homme armé” -
Mark Vuorinen.
At the Intersection of ratio and intuitio: Arvo Pärt’s Como cierva sedienta -
Chris Williams.
Embodied Music Theory and Improvised Composition: Bill Evans, the Architect -
Stephen Guokas.
Nationalist Tendencies in the De Profundis Cantata of M. K. Čiurlionis -
Manuel Antonio Dominguez Salas.
Poetics for the Multi-opera Murmullos del páramo by Julio Estrada -
Roger Redgate.
Emergent Material: Reinventing the Compositional Process -
Yusuke Nakahara.
From Order to Chaos? Compositional Process and Concept of Béla Bartók’s Mikrokosmos -
James Dalton.
The Freedom of Control and the Control of Freedom: Free Style vs Strict Style Just Intonation in the Works of Lou Harrison -
Francesco Finocchiaro.
“Im Anfang war der Rhythmus”: Aesthetic Abstractions in the Film Music Composition of the 1920s -
Katarzyna Bartos.
“Consciousness is power”: Karlheinz Stockhausen’s Aus den sieben Tagen -
Małgorzata Kaniowska.
Neoclassicism vs Sonorism: Selected Performance Issues in Edward Bogusławski’s Selected Works for Chamber Orchestra -
Kalliopi Stigka.
Georgios Bikos’ Music World: When Intuition Meets Rationality - Apie autorius / About the authors
Muzikos komponavimo principai XVII: ratio versus intuitio | 2017
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