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Books on the topic 'Composés traces'

Author: Grafiati
Published: 12 May 2023
Last updated: 31 July 2025

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1

Belhassine, Naoufel. Hédi Jouini: La trace d'un géant. Bénévent, 2009.

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2

Canadian Council of Ministers of the Environment. Compost Guidelines Task Group. Guidelines for compost quality. Canadian Council of Ministers of the Environment, 2005.

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3

Simsova, Sylva. Traces in the sand: The story of Anthony Kammel in 18th century Britain. Dvořák Society, 2014.

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4

Dusapin, Pascal. Flux, trace, temps, inconscient: Entretiens sur la musique et la psychanalyse. Defaut, 2012.

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5

Young, Nina C. Recalling the Traces of Ancient Fires: Memory and Composed Reinterpretation in Vestigia Flammae for sinfonietta and Agnosco Veteris for orchestra. [publisher not identified], 2017.

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6

Palák, Milan. Po stopách Gustava Mahlera v Čechách a na Moravě =: Auf den Spuren von Gustav Mahler in Böhmen und Mähren = In Gustav Mahler's footsteps in Bohemia and Moravia = Sur les traces de Gustav Mahler en Bohême et en Moravie = In Gustav Mahler's voetsporen in Bohemen en Moravië. Milan Palák, 2003.

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7

National Defense Research Institute (U.S.) and United States. Dept. of Defense. Office of the Secretary of Defense., eds. A review of the scientific literature as it pertains to Gulf War illnesses. Rand, 2001.

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8

Andò, Valeria. Euripide, Ifigenia in Aulide. Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.

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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of
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9

Statham, P. J., and A. G. Howard. Inorganic Trace Analysis: Philosophy and Practice. John Wiley & Sons, 1994.

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10

Sur les traces de J-S Bach. BUCHET CHASTEL, 2021.

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11

The composer composes the future so that the composition leaves the traces of the future which the future won’t leave, Hong-Kai Wang. TheCube Project Space, 2012.

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12

LAMM, Kelcey W. Easy Cello Solos: 29 Classical Music Tracks by Composers. Independently Published, 2022.

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13

Clement, Raymond E. Instrumentation for Trace Organic Monitoring. CRC, 1991.

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14

Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2017.

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15

Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.

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16

Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.

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17

Clement, Raymond E. Instrumentation for Trace Organic Monitoring. Taylor & Francis Group, 2018.

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18

Il y a trace de nous. Delatour France, 2020.

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19

Platte, Nathan. Music Director Differences. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0006.

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In the productions leading up to Gone with the Wind, Selznick tried working with different composers to cultivate a sustainable partnership. These efforts included trial productions with Alfred Newman (The Prisoner of Zenda) and Oscar Levant (Nothing Sacred), and ultimately led to Selznick’s hiring Lou Forbes as a permanent music director in 1937. Forbes’s responsibilities included securing permissions to use preexistent music, assembling preview scores (known now as “temp tracks”), supervising final scores, serving as a liaison between Selznick and the composer, monitoring recording sessions,
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20

Bonds, Mark Evan. The Beethoven Syndrome. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190068479.001.0001.

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The “Beethoven syndrome” is the inclination of listeners to hear music as the projection of a composer’s inner self. Beethoven’s music was a catalyst for this change, but only in retrospect, for it was not until after his death that listeners began to hear composers in general—not just Beethoven—in their works, particularly in their instrumental music. The Beethoven Syndrome: Hearing Music as Autobiography traces the rise, fall, and persistence of this mode of listening from the middle of the eighteenth century to the present. Prior to 1830, composers and audiences alike operated within a fram
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21

Llewellyn, Matthew P., and John Gleaves. The Anatomy of Olympic Amateurism. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040351.003.0002.

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This chapter traces the origins and development of amateurism, from the plans to revive the Olympic Games of classical Greek antiquity in 1894 through its global diffusion. Though often misattributed to ancient Greece, amateurism was a distinctly modern invention born in Great Britain during the latter half of the nineteenth century. A holistic and loosely articulated set of ideas, beliefs, and practices, amateurism is commonly defined as being “about doing things for the love of them, doing them without reward or material gain or doing them unprofessionally.” The amateur played the game for t
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22

Shelleg, Assaf. Theological Stains. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197504642.001.0001.

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Theological Stains traces the growth of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a riveting and provocative account, Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers grappling with biblical redemptive promises and diasporic patrimonies. Unveiling the network that bred territorial nationalism and Hebrew culture, Shelleg shows how this mechanism infiltrated composers’ work as much as it triggered less desirable responses from composers who sought to realize to the nonte
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23

Maymudes, Victor, and Jacob Maymudes. Another Side of Bob Dylan: A Personal History on the Road and off the Tracks. St. Martin's Press, 2014.

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24

Paschalis, Michael. Translations of Virgil into Ancient Greek. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0010.

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This chapter traces the two-thousand-year-old tradition of translating Virgil into ancient Greek. It examines verse translations composed in late antiquity (Oratio Constantini) and in the Renaissance (Scaliger and Heinsius) as well as translations from the period of the modern Greek Enlightenment (Voulgaris) down to nineteenth-century modern Greece (Philitas and Ioannou). Paschalis investigates the elements of continuity and change in relation to translation techniques, adaptation to the genre’s conventional dialect, metrical and verbal equivalences between the translations and the original, t
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25

Kreuzer, Gundula. Curtain, Gong, Steam. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520279681.001.0001.

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Exploring opera from the perspectives of media studies and technology studies, this pioneering book examines how composers since the late eighteenth century have increasingly integrated specific audiovisual details into their creative visions, thereby furthering the development of stage machineries as well as the means of their codification. In particular, composers fostered what the author calls “Wagnerian technologies”: multisensory devices intended to veil both the artificiality of illusionist stage representation and their own mechanicity. Building on Richard Wagner’s theories of the total
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26

Dmitriev, Kirill, and Christine van Ruymbeke, eds. “Passed around by a Crescent”. Ergon – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783956509094.

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This publication explores the presence of the shared heritage and interdependence of poetry composed around the theme of wine in diverse literary traditions of the Islamic world. The specialist contributions discuss multiple aspects of the literary polyphony of wine in the pre-modern Arabic, Persian, Hebrew, Ottoman Turkish, and Urdu literatures during the first millennium of the Islamic era. Presenting these together and in dialogue with one another, the volume offers a comparative perspective on a long, varied, but singularly mutual tradition. It traces how this poetry develops, flourishes a
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27

Shapiro, Stewart, and Geoffrey Hellman, eds. The History of Continua. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198809647.001.0001.

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Mathematical and philosophical thought about continuity has changed considerably over the ages. Aristotle insisted that continuous substances are not composed of points, and that they can only be divided into parts potentially; a continuum is a unified whole. The most dominant account today, traced to Cantor and Dedekind, is in stark contrast with this, taking a continuum to be composed of infinitely many points. The opening chapters cover the ancient and medieval worlds: the pre-Socratics, Plato, Aristotle, Alexander, and a recently discovered manuscript by Bradwardine. In the early modern pe
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28

Ó Briain, Lonán. On Becoming Vietnamese. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0002.

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Chapter 1 examines the mythologization of the Hmong and other minorities by mainstream performing artists to show how those minorities have been inscribed into Vietnam’s national consciousness through popular music. The chapter traces the early history and migrations of the Hmong into the mountains of Southeast Asia to their formal identification as an ethnic group in French Indochina. From revolutionary songs (ca khúc cách mạnh) in the 1950s and 1960s to independent creative artists in the late twentieth and early twenty-first centuries, the multivalent superculture that comprises the Vietnam
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29

Smith, Nigel. Grace Abounding to the Chief of Sinners (1666). Edited by Michael Davies and W. R. Owens. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199581306.013.10.

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This chapter looks closely at John Bunyan’s first major narrative, his conversion account Grace Abounding to the Chief of Sinners (1666), exploring interwoven qualities of intense religious confession, especially the deep sense of sinful guilt; metaphorical vitality drawn from Bunyan’s local experience in Bedfordshire; animated, personified, medicinal citation of the Bible (and other pious books); modes of social abjection; and pursuit of the authority to speak. Grace Abounding was composed when Bunyan was in prison under the terms of the 1664 Conventicle Act, and hence he was using the conver
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30

Issiyeva, Adalyat. Representing Russia's Orient. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190051365.001.0001.

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This book examines the musical ramifications of Russia’s nineteenth-century expansion to the east and south and explores the formation and development of Russian musical discourse on Russia’s own Orient. It traces the transition from music ethnography to art songs and discusses how various aspects of (music) ethnographies, folk song collections, music theories, and visual representations of Russia’s ethnic minorities, or inorodtsy, shaped Russian composers’ perception and musical representation of Russia’s oriental “others.” Situated on the periphery, minority peoples not only defined the geog
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31

Marsland, Rebecca. Lament for the Dead in Fifteenth-Century Scotland. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0003.

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This chapter explores the importance of lament for the dead within historical and romance narratives composed in Scotland between c.1438 and c.1500 in both Older Scots and Latin. The chapter looks in detail at intercalated laments for the dead included in Walter Bower’s Scotichronicon (c.1440–7) and the anonymous Liber Pluscardensis (completed c.1461) as well as in the octosyllabic Buik of Alexander (c.1437), The Wallace (c.1476–8), and Sir Gilbert Hay’s Buik of King Alexander the Conquerour (c.1460–99). The chapter traces a persistent association within these texts between lament for the dead
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32

O’Brien, Julia M., ed. The Oxford Handbook of the Minor Prophets. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190673208.001.0001.

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The Oxford Handbook of the Minor Prophets provides a clear and engaging one-volume guide to the major interpretative questions currently engaging scholars of the twelve Minor Prophets. Essays by both established and emerging scholars explore a wide range of methodological perspectives. Historical studies consider the manuscript evidence for these books and overview debates about how, when, and by whom they were composed. Literary explorations consider the genres and rhetorical style of the material, key themes, and intertextual connections with other sections of the Jewish and Christian canons
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33

De Lucca, Valeria. The Politics of Princely Entertainment. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190631130.001.0001.

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The Politics of Princely Entertainment explores transformations in the politics of entertainment of the Italian aristocratic classes during the second half of the seventeenth century, a time when profound social and cultural shifts influenced the production and consumption of music. The emergence of commercial theaters in the 1630s in Venice and the great appeal that opera began to have for a large and international audience required the aristocracy to take on a new role within the complex network of agents responsible for the production not only of opera but of music in general. The increasin
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34

Ramsey, Grant. Trait Bin and Trait Cluster Accounts of Human Nature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198823650.003.0003.

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Conceptions of human nature fall under two broad categories, trait bin accounts and trait cluster accounts. Trait bin accounts take there to be a special bin of traits, one composed of all and only those traits constituting our nature. For those arguing for a trait bin account of human nature, the challenge is to articulate what it is that marks a trait as being inside or outside the bin. I argue that trait bin approaches to human nature are misguided, that there is no good way of dividing human traits into those that are a part of our nature and those that are not. Instead, I argue for a trai
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35

Bitel, Lisa M. Otherworld. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197600610.001.0001.

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Abstract Otherworld offers a lively translation and retelling of little-known, anonymous stories composed over a thousand years ago in the monastic libraries of Ireland. In poetry and prose, the tales tell us what happens when human and supernatural lovers cross the boundaries between our world and the magical Otherworld (síd) and its creatures (áes síde). Set in a lost time of heroes, demigods, and warrior queens, these stories inspired some of the earliest fairy tales of Europe, but they are sexier, funnier, and bloodier than better-known medieval myths and romances. While retelling the tale
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36

Shelleg, Assaf. The State of Afterness. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197786758.001.0001.

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Abstract The State of Afterness traces the cultural histories of contemporary music in Israel since the 1980s. Assembling the networks of composers trained in the post-ideological climate of the 1970s and 1980s and the compositional approaches that recorded the attenuation of territorial nationalism, afterness emerges as the state of being unconditioned by territorialism while opting for previously unavailable temporalities and ethnographies. If earlier the statist subject superseded or subsumed any competing political project, since the 1980s such self-referential acts have been losing their
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37

Simms, Bryan R., and Charlotte Erwin. Berg. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190931445.001.0001.

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This book contains a new study of the life and works of the composer Alban Berg (1885–1935). The major events in his life are recounted, based on a reassessment of archival documents, correspondence, and the recollections of those who knew him. His relationship with other modernists in music, art, and literature—including Arnold Schoenberg, Karl Kraus, and Alma Mahler-Werfel—is traced. The role played in Berg’s personal and artistic life by his wife, Helene, is emphasized, and her management of his legacy—often controversial—for the forty years following his death is explored. The book contain
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38

Lewis, Hannah. “The Music Has Something to Say”. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0007.

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Chapter 6 focuses on a well-known case of conflict surrounding a film’s music: the beloved 1934 film L’Atalante. The second collaboration between experimental filmmaker Jean Vigo and film composer Maurice Jaubert, L’Atalante had a disastrous initial release. In an attempt to make the film more broadly accessible, the producers edited the film substantially, replacing parts of Jaubert’s score with the popular song “Le Chaland qui passe.” In altering the soundtrack, they altered an important narrative subtext: a reflexive fixation on synchronized sound film, expressed through a focus on the magi
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39

Caps, John. Here Was Something Fresh. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036736.003.0001.

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This introductory chapter traces the path of Henry Mancini's career, highlighting the reasons why he became the first publicly successful and personally recognizable film composer in history. It suggests that Mancini was perfectly placed, by time and temperament, to be a bridge between the traditions of the big band period of World War II and the eclectic impatience of the baby boomer generation that followed, between the big formal orchestral film scores of Hollywood's so-called Golden Years and a modern American minimalist approach. On the one hand, his respect for pre-wartime pop and movie
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40

Debaise, Didier. A Universe of Societies. Translated by Tomas Weber. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423045.003.0010.

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Which kind of relation exists between a stone, a cloud, a dog, and a human? Is nature made of distinct domains and layers or does it form a vast unity from which all beings emerge? Refusing at once a reductionist, physicalist approach as well as a vitalistic one, Whitehead affirms that « everything is a society » This chapter consequently questions the status of different domains which together compose nature by employing the concept of society. The first part traces the history of this notion notably with reference to the two thinkers fundamental to Whitehead: Leibniz and Locke; the second pa
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41

Mirka, Danuta, ed. The Oxford Handbook of Topic Theory. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199841578.001.0001.

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The concept of topics was introduced into the vocabulary of music scholars by Leonard Ratner to account for cross-references between eighteenth-century styles and genres. The emergence of this phenomenon followed the rapid proliferation and consolidation of stylistic and generic categories. While music theorists and critics classified styles and genres, defining their affects and proper contexts for their usage, composers crossed the boundaries between them, using stylistic conventions as means of communication with the audience. Such topical use of styles and genres out of their proper contex
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42

Graber, Naomi. Kurt Weill's America. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190906580.001.0001.

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This book traces composer Kurt Weill’s changing relationship with the idea of “America.” His European works such as The Rise and Fall of the City of Mahagonny (1930), depict the nation as a capitalist dystopia filled with gangsters and molls. But in 1935, it became clear that Europe was no longer safe for the Jewish Weill, and he set sail for the New World. Once he arrived, he found the culture nothing like he imagined, and his engagement with America shifted in intriguing ways. From that point forward, most of his works concerned the idea of “America,” whether celebrating her successes, or cr
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43

Bomberger, E. Douglas. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0014.

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Examining the aftermath of 1917, this section traces the impact of the year’s events on future US musical directions. Recording technology advances made the spread of jazz possible, led to heightened fidelity of sound reproduction in classical music, and eventually altered the entire culture of live performance. Classical music did not disappear, but the advent of jazz presaged the coming dominance of popular music. World War I’s aftermath spawned a culture war between rural and urban Americans, and gains made by African American servicemen encountered a backlash of racial violence and discrim
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44

Papadopoulos, Yannis. Multilevel Governance and Depoliticization. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198748977.003.0007.

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‘Multilevel’ governance (MLG) refers to the fact that, in contemporary established democracies, collectively binding decisions are frequently formulated or implemented in a cooperative manner by networks composed of public actors attached to different jurisdictional levels (from the local to the supranational) and of non-public actors such as experts, interest representatives, and members of cause groups. This chapter develops the expectation that the occurrence and magnitude of depoliticization in MLG depend on a number of its defining traits, and that the presence and intensity of these trai
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45

Acosta, Rodolfo. Experimentation and Improvisation in Bogotá at the End of the Twentieth Century. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190842741.003.0013.

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This chapter explores how experimentation and improvisation became meaningful within the Colombian Western academic tradition. Acosta provides a musicological report of the evolution of experimental composition, interpretation, and improvisation in Bogotá toward the end of the twentieth century. The rise of atonality, electroacoustic and mixed music, indeterminacy, and other avant-garde movements from the late 1950s onward, are sketched as direct precedents for the rise of experimental improvisational practices since the 1980s. These tendencies grew into a rich field within Colombian music thr
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46

Wanke, Riccardo D. Sound in the Ecstatic-Materialist Perspective on Experimental Music. Taylor & Francis Group, 2022. https://doi.org/10.5040/9780367676933.

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What does a one hour contemporary orchestral piece by Georg Friedrich Haas have in common with a series of glitch-noise electronic tracks by Pan Sonic? This book proposes that, despite their differences, they share a particular understanding of sound that is found across several quite distinct genres of contemporary art music: the ecstatic-materialist perspective. Sound in the ecstatic-materialist perspective is considered as a material mass or element, unfolding in time, encountered by a listener, for whom the experience of that sound exceeds the purely sonic without becoming entirely divorce
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47

Mirka, Danuta. Hypermetric Manipulations in Haydn and Mozart. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197548905.001.0001.

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This book presents a systematic discussion of hypermeter and phrase structure in eighteenth-century music. It combines perspectives from historical and modern music theory with insights from the cognitive study of music and introduces a dynamic model of hypermeter that allows the analyst to trace the effect of hypermetric manipulations in real time. This model is applied in analyses of string chamber music by Haydn and Mozart. The analyses shed a new light upon this celebrated musical repertory, but the aim of this book goes far beyond an analytical survey of specific compositions. Rather, it
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48

Phelps, Nicholas A. Planes, Trains, and Automobiles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199668229.003.0006.

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This chapter looks at the work undertaken while on the move as an instance of the interplace economy. It considers the interplaces composed of the fixed infrastructures that make mobility possible—the economies associated with railways and railway stations, airports, and roads and exit ramps. It goes on to examine the distributed patterns of work that are prevalent as a result of increased physical and virtual mobility. The chapter has attempted to provide some sense of the economic importance of these interplaces as the largely ‘new’ places associated with fixed infrastructures for trains, pl
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49

Laird, Paul R., and Elizabeth Sallinger. Orchestration in Musical Theatre. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350451278.

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Orchestration in Musical Theatre offers an analytic and critical overview of the practice, execution, and effects of orchestration in musical theatre since the time that rock music became significant in the genre. Broadly described as the art of arranging a piece of music for a particular musical ensemble, orchestration is a specific skill that few composers or songwriters possess. This volume helps the reader understand and appreciate the art of orchestration and traces how the incorporation of rock and other types of popular music into scores for musical theatre on Broadway and in the West E
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50

Tamagawa, Kiyoshi. Echoes from the East. The Rowman & Littlefield Publishing Group, 2019. https://doi.org/10.5040/9781666991642.

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One of the most admired qualities of Claude Debussy’s music has been its seemingly effortless evocation and assimilation of exotic musical strains. He was the first great European composer to discern the possibilities inherent in the gamelan, the ensemble consisting mainly of tuned percussion instruments that originated in Java. Echoes from the East: The Javanese Gamelan and its Influence on the Music of Claude Debussy argues Debussy's encounter with the gamelan in 1889 at the Paris Exposition Universelle had a far more profound effect on his work and style than can be grasped by simply lookin
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