Vol.52,No.1(2017)

Finding a way to tie technology, aesthetics and dramaturgy together in terms of experimental sound-based music

Leigh Landy
https://doi.org/10.5817/MB2017-1-1

Roelof Vermeulen at Philips : a search for space in music

Kees Tazelaar
https://doi.org/10.5817/MB2017-1-2

Slippery bows and slow circuits

John Richards
https://doi.org/10.5817/MB2017-1-3

Everyone can be composer today – full stop or question mark?

Michal Rataj
https://doi.org/10.5817/MB2017-1-4

Melodic segmentation: structure, cognition, algorithms

Zuzana Cenkerová
https://doi.org/10.5817/MB2017-1-5

Technology or theology? : music beyond technology

Martin Flašar
https://doi.org/10.5817/MB2017-1-6

Arnold Schönberg and musica artificiosa : a rationality in the musical composition

Vladimír Fulka
https://doi.org/10.5817/MB2017-1-7

Music by František Škvor for the Karol Plicka's film The Earth Sings – the beginning of Slovak national music? : some remarks on the origin and importance

Branko Ladič
https://doi.org/10.5817/MB2017-1-8

C.P.E. Bach's "art" and "craft"? : galant schemata and the Rule of the Octave as markers of convention in selected keyboard sonatas and in the Versuch

Gilad Rabinovitch
https://doi.org/10.5817/MB2017-1-9

New media and the work of Slovak composer Tadeáš Salva

Michal Ščepán
https://doi.org/10.5817/MB2017-1-10

Music criticism in nineteenth-century England: how did it become a profession?

Paul Watt
https://doi.org/10.5817/MB2017-1-11

The role of technology in the aesthetics of postwar serial music

Marcus Zagorski
https://doi.org/10.5817/MB2017-1-12

Concerto for the universal algorithm : Paik, Moorman, Youngblood, Flusser

Louis Armand
https://doi.org/10.5817/MB2017-1-13

Musica practica according to Roland Barthes

Jozef Cseres
https://doi.org/10.5817/MB2017-1-14

Listening to art on a seabed

Jana Horáková
https://doi.org/10.5817/MB2017-1-15