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	<title>NagyMusic &#187; Aesthetics</title>
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	<description>{ composition - performance - aesthetics }</description>
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		<title>String(s) Streams</title>
		<link>http://www.nagymusic.com/2011/12/11/strings-streams/</link>
		<comments>http://www.nagymusic.com/2011/12/11/strings-streams/#comments</comments>
		<pubDate>Sun, 11 Dec 2011 19:07:24 +0000</pubDate>
		<dc:creator>nagymusic</dc:creator>
				<category><![CDATA[Aesthetics]]></category>
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		<guid isPermaLink="false">http://www.nagymusic.com/?p=3528</guid>
		<description><![CDATA[I am very thankful to Duquesne University string players for their reading and recording of my string quartet, Intimate Stream[s]. Written in 2008 and recently revised, the piece reflects my ongoing exploration of musical syntax as an interplay of music cognition and philosophy, notably of the creation and perception of musical harmony-timbre(s) and the causality [...]]]></description>
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		<title>Sonance</title>
		<link>http://www.nagymusic.com/2011/02/20/sonance/</link>
		<comments>http://www.nagymusic.com/2011/02/20/sonance/#comments</comments>
		<pubDate>Sun, 20 Feb 2011 20:30:03 +0000</pubDate>
		<dc:creator>nagymusic</dc:creator>
				<category><![CDATA[Aesthetics]]></category>
		<category><![CDATA[Blog]]></category>
		<category><![CDATA[Music Theory]]></category>

		<guid isPermaLink="false">http://www.nagymusic.com/?p=3341</guid>
		<description><![CDATA[There have been many ways of measuring and classifying consonant and dissonant intervals throughout music history. From Pythagoras to the nineteenth century, music theorists have claimed perfect-ratio intervals accountable for the foundations of Western harmonic language. With the birth of psychoacoustics and cognitive neuroscience, some new and intriguing perspectives have been enthralling physicists, music theorists, [...]]]></description>
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		<title>Harmonic Horizons</title>
		<link>http://www.nagymusic.com/2011/01/10/harmonic-horizons/</link>
		<comments>http://www.nagymusic.com/2011/01/10/harmonic-horizons/#comments</comments>
		<pubDate>Mon, 10 Jan 2011 23:34:23 +0000</pubDate>
		<dc:creator>nagymusic</dc:creator>
				<category><![CDATA[Aesthetics]]></category>
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		<category><![CDATA[Spirituality]]></category>

		<guid isPermaLink="false">http://www.nagymusic.com/?p=3082</guid>
		<description><![CDATA[I embarked on my harmonic pilgrimage with my first composition teacher, more than a decade ago in Zagreb, Croatia. Prof. Marko Ruždjak[1] so patiently engaged with me in what became countless hours of discussions on musical harmony while I had been writting out multiple voices in the species of the rigorous counterpoint of Giovanni Pierluigi [...]]]></description>
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		<title>Autopoietic Harmonic Space</title>
		<link>http://www.nagymusic.com/2010/12/09/autopoietic-harmonic-space/</link>
		<comments>http://www.nagymusic.com/2010/12/09/autopoietic-harmonic-space/#comments</comments>
		<pubDate>Fri, 10 Dec 2010 00:15:18 +0000</pubDate>
		<dc:creator>nagymusic</dc:creator>
				<category><![CDATA[Aesthetics]]></category>
		<category><![CDATA[Music Theory]]></category>

		<guid isPermaLink="false">http://www.nagymusic.com/?p=2988</guid>
		<description><![CDATA[Would it be possible to imagine a self-generative harmonic structure, representing haptic, rather then optic harmonic space? Would it then be feasible for a composer to generate a string of self-referential sonorities, each forming a harmonically distinct spatial dimension with almost tactile, palpable surface? In this article I associate the notion of autopoiesis with a [...]]]></description>
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		<title>LAETARE VOX</title>
		<link>http://www.nagymusic.com/2010/02/27/laetare-vox/</link>
		<comments>http://www.nagymusic.com/2010/02/27/laetare-vox/#comments</comments>
		<pubDate>Sun, 28 Feb 2010 04:30:34 +0000</pubDate>
		<dc:creator>nagymusic</dc:creator>
				<category><![CDATA[Aesthetics]]></category>
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		<category><![CDATA[Spirituality]]></category>

		<guid isPermaLink="false">http://www.nagymusic.com/?p=3053</guid>
		<description><![CDATA[This work reflects several compositional approaches that I have been exploring in my recent compositions. The first one is the concept of pitch space distance and melodic attractions developed by cognitive music theory. The second is the musical relative interdependence of pitch hierarchies, rhythm, and modes of performance, especially the structural pathways of pitch space [...]]]></description>
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