Bert Van Herck.
Audiation: What to Listen for?
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
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
Targeting the Three Dimensions of Auditory Imagery in the Creative Process of Composing: Models of Rhythmic Expression
Prohibition versus Apotheosis of a Tritone: A Historical Perspective
The Audiation of a Triad and its Rejection in the Composing Process
Peculiarities of Pitch Audiation in the Explorations of Sound Quality
Audiating Timbre: From “Inside the Materia” to a Textural Prototype
Understanding and Interpreting Classical Guitar Morphologies within the Sound Sculpting Arena
Technology Assisted Audiation in New Composing Practice
“Organized Post-Tonality” and its Aural Perception. The Interaction of Primary and Composite Segments in Schoenberg’s Piano Piece Op. 23, No. 2
Audiation and Improvisation as they Relate to Synesthesia in the Organ Music of Olivier Messiaen
“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