3-11
| TWO INDEPENDENCES OF GEORGIAN MUSIC (1918/21 - 1991 ...) |
3-11 |
| THREE-PART POLYPHONIC CYCLE AND NODAR MAMISASHVILI’S “PRELUDE, CHORALE AND FUGUE” |
12-17 |
| “THE UNDILADZE FAMILY” / “DER RING DES NIBELUNGEN”: A NATURAL AND INEVITABLE ANALOGY |
18-23 |
| INFINITY OF THE CREATIVE SELF-EXPRESSION – SYNCRETIC COUNTERPOINT IN THE SYMPHONY-EXHIBITION “KHMA” BY E. CHABASHVILI |
24-27 |
| CORRELATION BETWEEN THE CONTENTS AND FORM OF THE CHERUBIC HYMN (Language: Georgian) |
28-41 |
| MULTICULTURALISM AS A CREATIVE TRIGGER: A MUSIC COMPOSERS INSIGHT AND EXPERIENCE |
42-47 |
| ALTERATIONS: A SERIES OF WORKS TITLED “MUSIC NOVELLAS” BY GREEK COMPOSER THOMAS BAKALAKOS AS A CONTEMPORARY SUGGESTION FOR THE RESURRECTION OF GREEK NATIONAL SCHOOL OF MUSIC. |
48-59 |
| A PERFORMANCE-ORIENTED ANALYSIS OF THE INFLUENCE OF ARGENTINIAN FOLK DANCES IN ALBERTO GINASTERA’S SUITE DE DANZAS CRIOLLAS, OP. 15 |
60-71 |
| MUSICAL ART, CULTURAL MEMORY AND POSTHUMAN (RAISING A POINT) |
72-81 |