3-20
| DEFINITION PROBLEM OF ALGORITHMIC MUSIC COMPOSITION. RE-EVALUATION OF THE CONCEPTS AND TECHNOLOGICAL APPROACH |
3-20 |
| IT MAY SOUND SCARY: GOTHIC UNDERPINNINGS IN GEORGE CRUMB’S MADRIGALS |
21-27 |
| PERSONALITY AND THE CONTEMPORARY MUSICAL CULTURE: PROBLEMS OF INTERACTION |
28-32 |
| MULTICULTURALISM AND NATIONAL IDENTITY IN THE 20TH CENTURY GEORGIAN MUSICAL SPACE |
33-38 |
| “MELOS” CONCEPT OF POLYPHONY AND FORMS OF ITS REVEALING IN OLD GEORGIAN PROFESSIONAL MUSIC |
39-47 |
| COUNTERPOINT OF IMITATION AND OSTINATO IN POLYPHONIC FORM (AT THE EXAMPLE OF GEORGIAN MUSIC) |
48-53 |
| THE CHORAL POEM “ENTREATY” BY S. NASIDZE (ABOUT SOME COMPOSITIONAL CHARACTERISTICS) (Language: Georgian) |
5476 |
| C. CARDEW’S TREATISE – GRAPHIC SCORE. IMPROVISATION, INTERPRETATION, OR COMPOSITION? |
77-81 |
| THE THEORY OF MUSICAL CONTENT IN A CONTEMPORARY PEDAGOGY |
82-87 |
| CONCEPTUAL MODELS OF PUBLIC SPACE IN 19TH AND 20TH CENTURY MUSIC |
88-92 |
| HERMANN WEDEKIND AND GEORGIAN MUSICAL CULTURE |
93-97 |
| CULTURAL AND HISTORICAL CONTINUUM ART OF JOINT CARRYING OUT (Language: Russian) |
98-107 |
| THREE PERSPECTIVES OF THE CONTINUUM IN MUSIC C. NANCARROW, J. CARRILLO AND J. ESTRADA STUDY OF SOUND-MEMORY INSIDE THE MACRO TIMBRE |
108-116 |