| DEFINITION PROBLEM OF ALGORITHMIC MUSIC COMPOSITION. RE-EVALUATION OF THE CONCEPTS AND TECHNOLOGICAL APPROACH (Язык: Английский) | 
3-20 |
| IT MAY SOUND SCARY: GOTHIC UNDERPINNINGS IN GEORGE CRUMB’S MADRIGALS (Язык: Английский) |
21-27 |
| PERSONALITY AND THE CONTEMPORARY MUSICAL CULTURE: PROBLEMS OF INTERACTION (Язык: Английский) |
28-32 |
| MULTICULTURALISM AND NATIONAL IDENTITY IN THE 20TH CENTURY GEORGIAN MUSICAL SPACE (Язык: Английский) |
33-38 |
| “MELOS” CONCEPT OF POLYPHONY AND FORMS OF ITS REVEALING IN OLD GEORGIAN PROFESSIONAL MUSIC (Язык: Английский) |
39-47 |
| COUNTERPOINT OF IMITATION AND OSTINATO IN POLYPHONIC FORM (AT THE EXAMPLE OF GEORGIAN MUSIC) (Язык: Английский) |
48-53 |
| ГРУППОВАЯ ПОЭМА СУЛХАНА НАСИДЗЕ «МОЛЬБА» (О НЕКОТОРЫХ КОМПОЗИЦИОННЫХ ОСОБЕННОСТЯХ) (Язык: Грузинский) |
5476 |
| C. CARDEW’S TREATISE – GRAPHIC SCORE. IMPROVISATION, INTERPRETATION, OR COMPOSITION? (Язык: Английский) |
77-81 |
| THE THEORY OF MUSICAL CONTENT IN A CONTEMPORARY PEDAGOGY (Язык: Английский) |
82-87 |
| CONCEPTUAL MODELS OF PUBLIC SPACE IN 19TH AND 20TH CENTURY MUSIC (Язык: Английский) |
88-92 |
| HERMANN WEDEKIND AND GEORGIAN MUSICAL CULTURE (Язык: Английский) |
93-97 |
| КУЛЬТУРНО-ИСТОРИЧЕСКИЙ КОНТИНУУМ ИСКУССТВА СОВМЕСТНОГО МУЗИЦИРОВАНИЯ |
98-107 |
| THREE PERSPECTIVES OF THE CONTINUUM IN MUSIC C. NANCARROW, J. CARRILLO AND J. ESTRADA STUDY OF SOUND-MEMORY INSIDE THE MACRO TIMBRE (Язык: Английский) |
108-116 |