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Books on the topic 'Choreographic composition'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Smith, Jacqueline M. Dance composition: A practical guide for teachers. A & C Black, 1985.

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2

Hayes, Elizabeth R. Dance composition & production. 2nd ed. Princeton Book Co., 1993.

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3

Bird, Jennifer Lynne. Choreographing creativity: Teaching as artistic and technical within the curriculum of composition. University Press of America, 2009.

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4

Smith-Autard, Jacqueline M. Dance composition: A practical guide for teachers. A & C Black, 1988.

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5

Pomer, Janice. Dance composition: An interrelated arts approach. Human Kinetics, 2009.

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6

Symposium on Systems Research in the Arts and Humanities (1st 2007 Baden-Baden, Germany). Systems research in the arts and humanities: On choreographies in music, visual and perfomative arts, and environmental design : readings, processes, (op)positions and crossings on compositions, structures and patterns, design: duration, perception and senses, complexitiy in architecture and music systems, modeling, mapping, and choreographing (the space) of the body. International Institute for Advanced Studies in Systems Research and Cybernetics, 2007.

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7

Sofras, Pamela Anderson. Dance Composition Basics. 2nd ed. Human Kinetics, 2020. http://dx.doi.org/10.5040/9781718227415.

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If the saying “To be the best, you must learn from the best” holds true, then this book is gold for all aspiring dancers. Dance Composition Basics, Second Edition, doesn’t just feature the works and brilliance of dance and choreographic legends Alonzo King and Dwight Rhoden–it is completely based on the choreographic operations and forms in three of their original works: Chants and Dreamer by King and Verge by Rhoden. All compositional exercises in the book are based on those three works, and the book itself is expertly crafted by Pamela Anderson Sofras, who has 34 years of experience teaching

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8

Magnetica: La composizione coreografica di Cindy Van Acker = The choreographic composition of Cindy Van Acker. Quodlibet, 2015.

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9

Pouillaude, Frédéric. Intending the Unintentional, Repeating the Unrepeatable. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0016.

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This chapter examines the contemporary relationships between improvisation and composition, precisely insofar as these apparently distort how we conventionally conceive of both the work and technique. It questions and qualifies the twofold definition of technique as bodily mastery and as arche-writing by considering contemporary improvisation practices. The chapter attempts to render dialectical the very idea of “bodily mastery,” since the space of improvisation only opens (at least from the utopian perspective) once the intentional project is abandoned. It also questions the notion of the cho

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10

Dance Composition. A&C Black, 2004.

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11

Winkler, Kevin. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0001.

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This introduction looks at the development of the role of director-choreographer, that individual who uses movement to align all elements of a musical into an integrated and cohesive whole. Ned Wayburn’s codified dance routines and Julian Mitchell’s scenic effects and production numbers gave way to Seymour Felix’s and Sammy Lee’s early attempts at integrating dance with narrative. From there, George Balanchine’s introduction of ballet into the structure of musicals and the corresponding requirement for classically trained dancers led to Agnes de Mille’s danced psychological scenarios, which em

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12

Choreographing Discourses. Taylor & Francis Group, 2018.

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13

Holland, Nola Nolen. Music Fundamentals for Dance. Human Kinetics, 2013. http://dx.doi.org/10.5040/9781718212855.

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Music Fundamentals for Dance provides students with a fundamental understanding of music and how it applies to dance performance, composition, and teaching. This valuable reference helps professional choreographers, dance educators, and dancers expand their knowledge of music and understand the relationships between music and dance. Fundamentals of Music for Dance helps dancers understand of the elements of music—form and structure, musical time, melody, texture, and score reading—and how they relate to dance performance and choreography. They will learn music vocabulary for easier communicati

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14

Choreography Visual Art and Experimental Composition 1950s-1970s. Routledge, 2022.

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15

Brannigan, Erin. Choreography, Visual Art and Experimental Composition 1950s-1970s. Taylor & Francis Group, 2022.

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16

Brannigan, Erin. Choreography, Visual Art and Experimental Composition 1950s-1970s. Taylor & Francis Group, 2022.

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17

Choreography, Visual Art and Experimental Composition 1950s-1970s. Taylor & Francis Group, 2022.

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18

Choreography Visual Art and Experimental Composition 1950s-1970s. Routledge, 2022.

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19

Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide to Creative Success in Dance Making. Taylor & Francis Group, 2014.

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20

Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide to Creative Success in Dance Making. Taylor & Francis Group, 2014.

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21

Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide to Creative Success in Dance Making. Taylor & Francis Group, 2014.

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22

Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide to Creative Success in Dance Making. Taylor & Francis Group, 2014.

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23

Dance composition. 4th ed. Routledge, 2001.

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24

Dance composition. 3rd ed. A. & C. Black, 1996.

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25

Dance composition. 5th ed. Routledge, 2004.

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26

Franko, Mark, and Alessandra Nicifero. Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2018.

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27

Franko, Mark, and Alessandra Nicifero. Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2018.

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28

Franko, Mark, and Alessandra Nicifero. Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2018.

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29

Franko, Mark, and Alessandra Nicifero. Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2018.

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30

Choreographing Discourses: A Mark Franko Reader. Taylor & Francis Group, 2019.

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31

Bird, Jennifer Lynne. Choreographing Creativity: Teaching As Artistic and Technical Within the Curriculum of Composition. University Press of America, Incorporated, 2009.

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32

Choreographing creativity: Teaching as artistic and technical within the curriculum of composition. University Press of America, 2009.

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33

Bird, Jennifer Lynne. Choreographing Creativity: Teaching As Artistic and Technical Within the Curriculum of Composition. University Press of America, Incorporated, 2014.

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34

Dance composition: A practical guide for teachers. 2nd ed. A & C Black, 1992.

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35

Planes of composition: Dance, theory, and the global. Seagull, 2009.

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36

Dance Composition: A Practical Guide to Creative Success in Dance Making. Bloomsbury Publishing Plc, 2015.

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37

Dance Composition: A Practical Guide to Creative Success in Dance Making. Taylor & Francis Group, 2015.

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38

Dance Composition: A Practical Guide to Creative Success in Dance Making. Bloomsbury Publishing Plc, 2009.

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39

Dance Composition: A Practical Guide to Creative Success in Dance Making. Bloomsbury Publishing Plc, 2015.

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40

Dance Composition: A Practical Guide to Creative Success in Dance Making. Bloomsbury Publishing Plc, 2010.

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41

Dance Composition: A Practical Guide to Creative Success in Dance Making. Routledge, 2014.

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42

Smith-Autard, Jacqueline M. Dance Composition: A Practical Guide for Teachers (Ballet, Dance, Opera & Music). 2nd ed. A & C Black, 1994.

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43

Doruff, Sher. She Stuttered. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.18.

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This article traces the lived occurrence of a spontaneous, improvisatory event. Using choreographer Jeanine Durning’s performance ofingingas both a touchstone and a springboard, the affects of spontaneity are transversally mapped through a variety of generative operations. This diagrammatic approach reveals a topology of entangled concepts that convolve to abiogrammatichypothesis on thein situfielding of composition. Concepts such as the quasi-cause, counter-actualization, the concresence of prehensions, middling, stuttering, thermodynamic entropy, proprioception, far from equilibrium states,

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44

Mirchandani, Sharon. Modern Dance and the MGM Recordings. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037313.003.0002.

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This chapter focuses on Marga Richter's success with her modern dance scores and MGM music recordings during the period 1951–1960. After graduating from Julliard Graduate School, Richter moved to an apartment on 308 West 107th Street. In New York City, she was able to attend fine traditional and new music concerts, visit museums, and partake in the cultural life of the city. However, earning a living was a significant concern. Fortunately, Richter's music had drawn the attention of choreographer James Waring. This chapter first considers Richter's studies in New York and her marriage to Alan S

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45

boukharta, Happy Books journal. Eat. Sleep. Choreography: / School Composition Writing Book / 6 X 9 / 120 Pgs. / College Ruled / Paperback Lined ... / Memo Note Taking / Paperback -. Independently Published, 2019.

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46

boukharta, Happy Books journal. Eat. Sleep. Choreography: / School Composition Writing Book / 6 X 9 / 120 Pgs. / College Ruled / Paperback Lined ... / Memo Note Taking / Paperback -. Independently Published, 2019.

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47

Kozlova, Ekaterina E. Rachel. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198796879.003.0005.

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This chapter focuses on Jeremiah’s Book of Consolation as it recapitulates the history of the Babylonian crisis in six poignant poems—from invasion to exile to manumission—and ritually marks each phase of the national crisis. The final composition in this series, Jer. 31:15–22, is of particular significance as it ‘resuscitates’ an ancestral mother, Rachel, and engages her in mourning rituals over Judah, cast as her dead child. This chapter argues that in light of the calibre of the task at hand—to bury a nation envisaged effectively as dead and to ‘inhume’ an entire age, i.e. Israel’s monarchy

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48

Mroz, Daniel. Dancing Word: An Embodied Approach to the Preparation of Performers and the Composition of Performances. Rodopi, 2012.

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49

Dancing Word: An Embodied Approach to the Preparation of Performers and the Composition of Performances. BRILL, 2011.

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50

Notebooks, Meril. Only the Strongest Women Become Choreographers: Notebook - Diary - Composition - 6x9 - 120 Pages - Cream Paper - Blank Lined Journal Gifts for Choreographers - Thank You Gifts for Female Choreographer. Independently Published, 2019.

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