Zafer Özgen, A Sonic Ecology: Nature, Sound, and Environmental Aesthetics in John Luther Adams’s Become Trilogy

10.46793/MinInters.015O

15-30

Twila Bakker, Pond Study: An Exploration of the Details Below the Surface of Ann Southam’s Spatial View of Pond

10.46793/MinInters.031B

31-48

Christoph Schuller, Modernism – Postmodernism – Anti-Americanism? The Negative Reception of American Minimal Music in West Germany

10.46793/MinInters.049S

49-69

Blanka Bogunović, Nikola Dedić, The Socio-cultural and Psychological Crossroads of a Minimalist Composer – Miroslav Miša Savić

10.46793/MinInters.070B

70-87

Jelena Janković-Beguš, Vlastimir Trajković, the (non-)minimalist

10.46793/MinInters.088JB

88-104

Rita de Cássia Domingues dos Santos, Developments of Postminimalism in Brazil: Gilberto Mendes’s Abertura Issa and Rita Domingues dos Santos’s Cartas para Yataro

10.46793/MinInters.105S

105-133

Paul David Kean, The Analysis, Performance and Memorisationof John Adams’s Phrygian Gates

10.46793/MinInters.135K

135-157

Tingting Yang, Reshaping and Revelation: Structural Constructions in Philip Glass’s Trilogy of Vocal Symphonies

10.46793/MinInters.158Y

158-176

Ulli Götte, Nik Bärtsch’s Special Fusion Approach to Minimal Music: Analysis of His Works and Aesthetic Evaluation

10.46793/MinInters.177G

177-200

Sonja Lončar, Andrija Pavlović, LP Duo – Minimalism as a Bridge to (Neo)Classical Piano Music and Beyond

10.46793/MinInters.201L

201-212

José Francisco Ielpi, A translation of Beckett, Two Actors and a Group of Musicians: Minimalism and Absurdity in Carlos Mastropietro’s Viejo nal de Partida

10.46793/MinInters.213I

213-228

Nikoleta Dojčinović, Minimalist Elements in Vladimir Tošić’s Atmospheric Music for Television. Case Study: The Yellow House

10.46793/MinInters.229D

229-252

Hiske Krammer, Echoes from the Quarry: Voice as Archaeological Tool for Performing the Traumatized Body in Meredith Monk’s Performance Quarry: an opera in three movements (1976)

10.46793/MinInters.253K

253-270