Muzikos komponavimo principai: nuo audijavimo link komponavimo | Principles of Music Composing: Links between Audiation and Composing

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