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Books on the topic 'New compositional form'

Author: Grafiati

Published: 5 June 2025

Last updated: 1 August 2025

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1

Cozza, Cassandra, and Chiara Toscani. Relazioni: Forma e vita nel progetto di architettura. Christian Marinotti edizioni, 2016.

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2

Schenker, Heinrich. Free composition =: Der freie Satz : volume III of New musical theories and fantasies. Schirmer Books, 1990.

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3

Kuntz, Laurie. The new arrival: Stories and activities for language development. 2nd ed. Alemany Press, 1988.

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4

Raymond, Perrez, Peacock N. A, Citron Sabine, and Lexus (Firm), eds. Webster's New World French grammar and exercises. Macmillan USA, 1997.

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5

Sutton, Michael. Read Canada!: (intermediate plus). Public Service Commission of Canada, Language Training Program Branch, Linguistic Services Directorate, English Program, Development Division, 1985.

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6

Kirby, Dawn Latta. New directions in teaching writing: Memoir. Heinemann, 2007.

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7

Aviva, Freedman, and Medway Peter, eds. Genre and the new rhetoric. Taylor & Francis, 1994.

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8

Wannamaker, Robert, Lauren Pratt, and Tashi Wada, eds. James Tenney. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9798765121351.

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This volume collects, for the first time, essential interviews and aesthetic writings from throughout James Tenney's five-decade artistic career. The eminent American-Canadian composer James Tenney (1934–2006) made groundbreaking contributions to sampling culture, digital sound synthesis, algorithmic composition, minimalism, spectral music, music in non-standard tuning systems, contemporary theories of form and harmony, and the consolidation of an American experimental-music tradition. This book documents both his own work and his involvements with influential figures in mid-century American m

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9

Redgate, Christopher. Composition changing instruments changing composition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0011.

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This chapter discusses the collaborative, cyclical relationship between composition and instrument development as it follows the journey from technically extreme compositions, via the design and manufacture of the Howarth-Redgate oboe, to composers’ responses to this new instrument. The chapter takes as its starting point the extreme technical demands that result from the development of extended techniques—for example, the problems with the standard instrument’s keywork that stem from such compositional approaches. Then, through reference to Roger Redgate’s Ausgangspunkte and other works that

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10

Stoll Knecht, Anna. Mahler's Seventh Symphony. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190491116.001.0001.

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Gustav Mahler’s Seventh Symphony stands out as one of the most provocative symphonic statements of the early twentieth century. This book offers a new interpretation of the Seventh based on a detailed study of Mahler’s compositional materials, combined with a close reading of the finished work. The Seventh has often been heard as “existing in the shadow” of the Sixth Symphony or as “too reminiscent” of Richard Wagner’s opera Die Meistersinger von Nürnberg. Focusing on sketches previously considered as “discarded,” this study reveals unexpected connections between the Seventh and both the Sixth

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11

Reenan, Sam. Symphonic Spectacles. Oxford University PressNew York, NY, 2025. https://doi.org/10.1093/9780197691113.001.0001.

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Abstract Symphonic music of the early twentieth century reflects the complex, cosmopolitan world it inhabited. In a time of waning empire, rising nationalism, and heightened sexual politics, composers in Germany, Britain, and the United States drew upon the compositional resources of tradition to create intensely personal symphonic spectacles. The hybrid symphonic works that flourished in this period mixed musical forms and genres freely, adapting compositional procedures for their rhetorical potential. Symphonic Spectacles investigates large-scale formal mixture in six case studies that juxta

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12

Sammons, Benjamin. Device and Composition in the Greek Epic Cycle. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190614843.001.0001.

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From a corpus of Greek epics known in antiquity as the “Epic Cycle,” six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. This study shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. It demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construct

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13

Paulo Guimarães, João. Experimental American Poetry and the New Organic Form. Bloomsbury Publishing Plc, 2025. https://doi.org/10.5040/9781350414914.

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Arguing that the 19th century concept of “living form” (the idea that, like an organism, a poem develops itself from within, according to an internal logic) is not, as some critics have argued, anathema to avant-garde writing, this book contends that the concept survived and flourished in the work of a number of contemporary experimental poets.Indebted to 19th century science, the notion of a “living form” endured throughout the 20th century and the poetic vanguard’s word games and collages mirrored the disjunctive frameworks that redefined how scientists made sense of life in the age of netwo

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14

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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15

Parker, Martin. Sonikebana. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450542.

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Sonikebana is a long-form composition designed for nine loudspeakers inside wooden boxes on wheels. The audience is invited to move the speakers around the room in order to shape their experience of the piece itself. Sometimes the slightest touch of a speaker will cause the music to take on a completely new direction, leading to the emergence of new sonic forms. At other points, the speakers react less obviously and audiences are encouraged to listen instead. The formal idea for this piece is based on a model borrowed from the refined Japanese art form of flower arranging called Ikebana. This

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16

Quick, Laura. The Composition of the Tell Fakhariyah Inscription and Deuteronomy 28. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198810933.003.0006.

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This chapter explores the composition of Deuteronomy 28, noting a parallel to the Tell Fakhariyah bilingual inscription. Scholars have developed a textual history for the Tell Fakhariyah inscription, reconstructing a complex compositional process based upon division of this inscription into parts stemming from a West Semitic hand and parts with East Semitic origin. By exploring the translation technique that governed the production of this inscription, this chapter demonstrates that it stems from a single hand who could mediate between traditions of East and West. This new understanding of the

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17

Meyer, Petra Maria. Sound, Image, Dance, and Space in Intermedial Theatre. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.42.

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The chapter focuses philosophically on theatre as one of the acoustic spaces for staging in which sound design acquires an ever higher status in an advanced technical intermedia interplay. Theatre-dramaturgy is transformed into intermedial dramaturgy. The author notes a fundamental “acoustic turn” in theatre, which locates compositional processes within new audiovisual interplays. “ICH2 Intermedial Dance Performance for Planetaria” (2005–2006)—a cutting-edge hybrid form of theatre using advanced digital technologies—is discussed. The performance combines expressive body movements, 360° interac

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18

Schmelz, Peter J. Alfred Schnittke's Concerto Grosso no. 1. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653712.001.0001.

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This book provides for the first time an accessible, comprehensive study of Alfred Schnittke’s Concerto Grosso no. 1 (1977). One of Schnittke’s best-known and most compelling works, the Concerto Grosso no. 1 sounds the surface of late Soviet life, resonating as well with contemporary compositional currents around the world. This innovative monograph builds on existing publications about the Concerto Grosso no. 1 in English, Russian, and German, augmenting and complicating them. It adds new information from underused primary sources, including Schnittke’s unpublished correspondence and his many

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19

Iddon, Martin, and Philip Thomas. John Cage's Concert for Piano and Orchestra. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938475.001.0001.

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The book is a comprehensive examination of John Cage’s seminal Concert for Piano and Orchestra. It places the piece into its many contexts, examining its relationship with Cage’s compositional practice of indeterminacy more generally, the importance of Cage’s teacher, Arnold Schoenberg, on the development of his structural thought, and the impact of Cage’s (mis)understanding of jazz. It discusses, on the basis of Cage’s sketches and manuscripts, the compositional process at play in the piece. It details the circumstances of the piece’s early performances—often described as catastrophes—its rec

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20

New Headway. Oxford University Press, 2014.

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21

Richardson, Samuel. Correspondence with Aaron Hill and the Hill Family. Edited by Christine Gerrard. Cambridge University Press, 2013. http://dx.doi.org/10.1017/9780521872737.

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Samuel Richardson (1689–1761) was an established master printer when, at the age of 51, he published his first novel, Pamela, and immediately became one of the most influential and admired writers of his time. Not only were all Richardson's novels written in epistolary form: he was also a prolific letter-writer himself. This volume in the first ever full edition of Richardson's correspondence includes his letters to and from Aaron Hill, the poet, dramatist and entrepreneur (1685–1750). Hill was Richardson's earliest literary friend and advisor as he embarked on a new career as a novelist. This

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22

Kuntz, Laurie. The New Arrival: In the Refugee Camp (New Arrival). 2nd ed. Alemany Press, 1988.

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23

Brügge, Joachim, and Hans Gruber, eds. Schach als Sujet in den Künsten und der Wissenschaft. Rombach Wissenschaft – ein Verlag in der Nomos Verlagsgesellschaft, 2022. http://dx.doi.org/10.5771/9783968218373.

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The fascination of the royal game has always occupied the arts and science, resulting in compositions, paintings, stage works, etc. In addition, the explosive development of artificial intelligence (AI) has given chess a new dimension and importance, even as a model for scientific theories. The special feature of this volume is furthermore that here, for the first time, the large field of chess composition is included in the consideration of forms of reception of chess.

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24

Kuntz, Laurie. New Arrival: In the United States Bk 2 (New Arrival). 2nd ed. Prentice Hall Trade, 1988.

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25

New Inside Out. Macmillan Publishers Limited, 2007.

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26

New Inside Out. Macmillan Publishers Limited, 2007.

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27

New Inside Out. Macmillan Publishers Limited, 2008.

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28

New Inside Out. Macmillan Publishers Limited, 2011.

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29

New Inside Out. Macmillan Publishers Limited, 2008.

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30

New Inside Out. Macmillan Publishers Limited, 2007.

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31

New Inside Out. Macmillan Publishers Limited, 2008.

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32

New Inside Out. Macmillan Publishers Limited, 2007.

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33

New Inside Out. Macmillan Publishers Limited, 2011.

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34

Sarath, Ed. A Consciousness-Based Look at Spontaneous Creativity. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.13.

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This chapter explores improvisation from a consciousness-based standpoint. Examination of an inner mechanics for the transcendent experience frequently reported by improvisers sets the stage for consciousness-based distinctions between improvisation and composition processes, in which improvisation is extricated from common misclassification as an accelerated subspecies of composition. Temporal, cultural, and linguistic factors are considered in distinguishing between improvisatory and compositional paradigms. The intimate melding between musicians and listeners in peak improvised performance

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35

Schenker, Heinrich. Free Composition: Vol. 3 of New Musical Theories and Fantiasies, Music Edition. Pendragon Pr, 2001.

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36

Gude, Kathy, Michael Duckworth, and Jane Wildman. New Matrix: Intermediate: Workbook. Oxford University Press, 2007.

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37

Hicks, Michael, and Christian Asplund. Situations of Too Extreme Difficulty: 1951–1959. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0002.

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This chapter chronicles Wolff's compositional period from his entry into Harvard in 1951 to his inadvertent entry into military service in 1959. During this time, all but one of Wolff's surviving compositions were piano pieces—seven works in which he moved from Cageian gamuts and prepared piano to utterly new configurations of musical materials and composer–performer relationships, though still generally within Cageian overall forms. To write for piano—Wolff's own instrument—fostered innovation and evolution, since it relieved him of the need to manipulate instrumental timbres. At the same tim

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38

Schiff, David. Back to Modernism. Back to Futurism. Back to New York (1948–1975). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190259150.003.0007.

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Carter’s mid-life oeuvre much of it composed in Europe, can be divided into three phases. From the Cello Sonata to the Variations for Orchestra he achieved a synthesis of European modernism, especially as found in the music of Schoenberg, Berg and Bartók, and American ultra-modernism; in all of these works Carter either quoted or alluded to compositions by Charles Ives. The works from the Second Quartet to the Concerto for Orchestra reflect his ambivalent connection with the European avant-garde. While he was particularly impressed with the spatial composition and expansion of percussion found

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39

Berman, Joshua A. Conclusion: A New Path Forward. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658809.003.0015.

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The conclusion argues that to renew the field of Pentateuchal criticism—indeed, the historical-critical paradigm in biblical studies more broadly—historical-critical scholars will need to adopt three new priorities in their work. The first is an epistemological shift toward modesty in our goals and toward accepting contingency in our results. The second is a far greater understanding of the rhetorical and compositional practices of the ancient Near East as we adduce notions of what constitutes a fissure in a text and how the biblical texts grew over time. Finally, scholars will need to ground

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40

New Headway Beginner. Oxford University Press, 2010.

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41

Covill, Charlotte, and Darek Strange. New Chatterbox, Starter. Oxford University Press, 2007.

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42

Soars, John, and Liz Soars. New Headway. Oxford University Press, 2014.

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43

Hancock, Paul, John Soars, Liz Soars, and Richard Storton. New Headway. Oxford University Press, 2015.

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44

Hancock, Paul, John Soars, and Liz Soars. New Headway. Oxford University Press, 2015.

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45

Soars, John, and Liz Soars. New Headway. Oxford University Press, 2020.

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46

Hancock, Paul, John Soars, and Liz Soars. New Headway. Oxford University Press, 2015.

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47

Soars, John, and Liz Soars. New Headway English Course. Oxford University Press, 2000.

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48

Soars, John, and Liz Soars. New Headway English Course. Oxford University Press, 2000.

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49

Soars, John, and Liz Soars. New Headway English Course. Oxford University Press, 2000.

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Soars, John, and Liz Soars. New Headway English Course. Oxford University Press, 2000.

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