Rima Povilionienė (b. 1975), musicologist, PhD in humanities (2007). In 2004, she was on internship at the Institute of Musicology at Leipzig University; in 2012, on a scientific internship at IRCAM, Paris. Povilionienė holds senior researcher position at the International Semiotics Institute (ISI) of Kaunas University of Technology; she is an associate professor at the Department of Musicology of the Lithuanian Academy of Music and Theatre (LAMT), assistant editor-in-chief of the scientific yearly Lithuanian Musicology and an editor at the Lithuanian National Philharmonic; in 2008–2015, she was a senior researcher at the Centre of Science of the LAMT. Povilionienė has published a monograph, a scientific study and up to 20 scientific articles. Her scientific research was presented at the conferences in Lithuania, Poland, UK, Singapore, France, and Italy. She has compiled over 10 publications and published more than 150 critic reviews. In 2008, Povilionienė was awarded the Lithuanian Academy of Sciences citation for doctoral thesis, and the Lithuanian Ministry of Education 1st prize for the study book Music Language: Baroque. Her monograph Musica Mathematica (2013) was awarded Vytautas Landsbergis prize for the best musicological work 2013.

• Part I. Theoretical Reflections.- Chapter 1. Musical Signification: A Systematic, Analytical and Pedagogical Approach (Joan Grimalt).- Chapter 2. Popular Music, Politics, Ideologies: A Numanistic Model (Dario Martinelli).- Chapter 3. Music and Associations: Cultural Impact on Musical Perception (Ulrika Varankaitė).- Chapter 4. Costin Miereanu and the Musical Labyrinth. Looking Through Converging Lenses (Oana Andreica).- Part II. Interfacing Musics and Societies.- Chapter 5. Musitecture: Musical Space, Spatial Music. Sonorous Thresholds in Time-Space Intersections (Gerard Guerra López).- Chapter 6. Musical Narrative in Representing "Hiroshima". A Case Study of Erkki Aaltonen's Second Symphony "Hiroshima" (1949) (Yumi Notohara).- Chapter 7. The Manifestation of Musical Criticism in the Lithuanian Press in the First Years of WWI (Rima Povilionienė).- Chapter 8. “Where‟s the Orchestra?”: The Sanremo Festival through the 1980s and the 1980s through the Sanremo Festival (Jacopo Conti).- Chapter 9. The Years of 883: Italian Pop at the Time of Commercial Broadcasting (Jacopo Tomatis).- Chapter 10. Political and Ethical Values of the Music of Manowar (Paolo Ribaldini).- Part III. Case Study: Polish Contemporary Music.- Chapter 11. “Via Crucis” and “Resurrectio” by PawełŁukaszewski (Renata Borowiecka).- Chapter 12. Theme of Death in the Music of Pawel Lukaszewski (Renata Borowiecka).- Chapter 13. Stanisław Moniuszko‟sOEuvre as a Builder of National Identity During Partition Times (Magdalena Chrenkoff).- Chapter 14. The Diversity of Artistic Work as a Response to the Needs of Contemporary Culture: On Adam Walaciński's Oeuvre (Ewa Czachorowska-Zygor).- Chapter 15. “Thakurian Chants” for Mixed Choir and Orchestra, by Marek Stachowski (Agnieszka Draus).- Chapter 16. New Romanticism in Polish Music: Generation 51 – Knapik, Krzanowski, Lasoń (Kinga Kiwała).- Chapter 17. Religious Motifs and Existential Reflection in Zbigniew Bujarski‟s Chamber Music (Ewa Wójtowicz).- Chapter 18.The Phenomenon of String Quartet in the Work of Krakow Composers from 1960s (Ewa Wojtowicz).

Rima Povilionienė (b. 1975), musicologist, PhD in humanities (2007). In 2004, she was on internship at the Institute of Musicology at Leipzig University; in 2012, on a scientific internship at IRCAM, Paris. Povilionienė holds senior researcher position at the International Semiotics Institute (ISI) of Kaunas University of Technology; she is an associate professor at the Department of Musicology of the Lithuanian Academy of Music and Theatre (LAMT), assistant editor-in-chief of the scientific yearly Lithuanian Musicology and an editor at the Lithuanian National Philharmonic; in 2008–2015, she was a senior researcher at the Centre of Science of the LAMT. Povilionienė has published a monograph, a scientific study and up to 20 scientific articles. Her scientific research was presented at the conferences in Lithuania, Poland, UK, Singapore, France, and Italy. She has compiled over 10 publications and published more than 150 critic reviews. In 2008, Povilionienė was awarded the Lithuanian Academy of Sciences citation for doctoral thesis, and the Lithuanian Ministry of Education 1st prize for the study book Music Language: Baroque. Her monograph Musica Mathematica (2013) was awarded Vytautas Landsbergis prize for the best musicological work 2013.

• Part I. Theoretical Reflections.- Chapter 1. Musical Signification: A Systematic, Analytical and Pedagogical Approach (Joan Grimalt).- Chapter 2. Popular Music, Politics, Ideologies: A Numanistic Model (Dario Martinelli).- Chapter 3. Music and Associations: Cultural Impact on Musical Perception (Ulrika Varankaitė).- Chapter 4. Costin Miereanu and the Musical Labyrinth. Looking Through Converging Lenses (Oana Andreica).- Part II. Interfacing Musics and Societies.- Chapter 5. Musitecture: Musical Space, Spatial Music. Sonorous Thresholds in Time-Space Intersections (Gerard Guerra López).- Chapter 6. Musical Narrative in Representing "Hiroshima". A Case Study of Erkki Aaltonen's Second Symphony "Hiroshima" (1949) (Yumi Notohara).- Chapter 7. The Manifestation of Musical Criticism in the Lithuanian Press in the First Years of WWI (Rima Povilionienė).- Chapter 8. “Where‟s the Orchestra?”: The Sanremo Festival through the 1980s and the 1980s through the Sanremo Festival (Jacopo Conti).- Chapter 9. The Years of 883: Italian Pop at the Time of Commercial Broadcasting (Jacopo Tomatis).- Chapter 10. Political and Ethical Values of the Music of Manowar (Paolo Ribaldini).- Part III. Case Study: Polish Contemporary Music.- Chapter 11. “Via Crucis” and “Resurrectio” by PawełŁukaszewski (Renata Borowiecka).- Chapter 12. Theme of Death in the Music of Pawel Lukaszewski (Renata Borowiecka).- Chapter 13. Stanisław Moniuszko‟sOEuvre as a Builder of National Identity During Partition Times (Magdalena Chrenkoff).- Chapter 14. The Diversity of Artistic Work as a Response to the Needs of Contemporary Culture: On Adam Walaciński's Oeuvre (Ewa Czachorowska-Zygor).- Chapter 15. “Thakurian Chants” for Mixed Choir and Orchestra, by Marek Stachowski (Agnieszka Draus).- Chapter 16. New Romanticism in Polish Music: Generation 51 – Knapik, Krzanowski, Lasoń (Kinga Kiwała).- Chapter 17. Religious Motifs and Existential Reflection in Zbigniew Bujarski‟s Chamber Music (Ewa Wójtowicz).- Chapter 18.The Phenomenon of String Quartet in the Work of Krakow Composers from 1960s (Ewa Wojtowicz).

Rima Povilionienė (b. 1975), musicologist, PhD in humanities (2007). In 2004, she was on internship at the Institute of Musicology at Leipzig University; in 2012, on a scientific internship at IRCAM, Paris. Povilionienė holds senior researcher position at the International Semiotics Institute (ISI) of Kaunas University of Technology; she is an associate professor at the Department of Musicology of the Lithuanian Academy of Music and Theatre (LAMT), assistant editor-in-chief of the scientific yearly Lithuanian Musicology and an editor at the Lithuanian National Philharmonic; in 2008–2015, she was a senior researcher at the Centre of Science of the LAMT. Povilionienė has published a monograph, a scientific study and up to 20 scientific articles. Her scientific research was presented at the conferences in Lithuania, Poland, UK, Singapore, France, and Italy. She has compiled over 10 publications and published more than 150 critic reviews. In 2008, Povilionienė was awarded the Lithuanian Academy of Sciences citation for doctoral thesis, and the Lithuanian Ministry of Education 1st prize for the study book Music Language: Baroque. Her monograph Musica Mathematica (2013) was awarded Vytautas Landsbergis prize for the best musicological work 2013.

• Part I. Theoretical Reflections.- Chapter 1. Musical Signification: A Systematic, Analytical and Pedagogical Approach (Joan Grimalt).- Chapter 2. Popular Music, Politics, Ideologies: A Numanistic Model (Dario Martinelli).- Chapter 3. Music and Associations: Cultural Impact on Musical Perception (Ulrika Varankaitė).- Chapter 4. Costin Miereanu and the Musical Labyrinth. Looking Through Converging Lenses (Oana Andreica).- Part II. Interfacing Musics and Societies.- Chapter 5. Musitecture: Musical Space, Spatial Music. Sonorous Thresholds in Time-Space Intersections (Gerard Guerra López).- Chapter 6. Musical Narrative in Representing "Hiroshima". A Case Study of Erkki Aaltonen's Second Symphony "Hiroshima" (1949) (Yumi Notohara).- Chapter 7. The Manifestation of Musical Criticism in the Lithuanian Press in the First Years of WWI (Rima Povilionienė).- Chapter 8. “Where‟s the Orchestra?”: The Sanremo Festival through the 1980s and the 1980s through the Sanremo Festival (Jacopo Conti).- Chapter 9. The Years of 883: Italian Pop at the Time of Commercial Broadcasting (Jacopo Tomatis).- Chapter 10. Political and Ethical Values of the Music of Manowar (Paolo Ribaldini).- Part III. Case Study: Polish Contemporary Music.- Chapter 11. “Via Crucis” and “Resurrectio” by PawełŁukaszewski (Renata Borowiecka).- Chapter 12. Theme of Death in the Music of Pawel Lukaszewski (Renata Borowiecka).- Chapter 13. Stanisław Moniuszko‟sOEuvre as a Builder of National Identity During Partition Times (Magdalena Chrenkoff).- Chapter 14. The Diversity of Artistic Work as a Response to the Needs of Contemporary Culture: On Adam Walaciński's Oeuvre (Ewa Czachorowska-Zygor).- Chapter 15. “Thakurian Chants” for Mixed Choir and Orchestra, by Marek Stachowski (Agnieszka Draus).- Chapter 16. New Romanticism in Polish Music: Generation 51 – Knapik, Krzanowski, Lasoń (Kinga Kiwała).- Chapter 17. Religious Motifs and Existential Reflection in Zbigniew Bujarski‟s Chamber Music (Ewa Wójtowicz).- Chapter 18.The Phenomenon of String Quartet in the Work of Krakow Composers from 1960s (Ewa Wojtowicz).