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Books on the topic 'Compositional practices'

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Published: 10 December 2022
Last updated: 28 January 2023

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1

Ancient compositional practices and the Synoptic problem. Leuven: University Press, 2005.

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2

Bartashevich, Aleksandr. Composition and design of furniture. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1027238.

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The book outlines the types of composition, its basic properties and quality. We consider the means of compositional shaping and fundamentals of design. The role of the analysis of the composition of the furniture in the design practice. Contains a large number of pictures on formal composition and the composition of the furniture. Designed for students enrolled in the specialty "Technology of logging and wood processing industries". Will be useful to students of the faculties of training and retraining students of colleges and technical schools woodworking profile, as well as specialists and designers of furniture enterprises.
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3

1942-, Blanton Linda Lonon, ed. Composition practice. 2nd ed. Boston, MA: Heinle & Heinle, 1993.

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4

Contemporary's practical English writing skills: A handbook with practice : teacher's guide. Lincolnwood, Ill: Contemporary Books, 1999.

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5

Bill, Anthes, ed. Reframing photography: Theory and practice. Abingdon, Oxon: Routledge, 2010.

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6

Child, Barbara. Drafting legal documents: Principles and practices. 2nd ed. St. Paul, Minn: West Pub, 1992.

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7

Drafting legal documents: Principles and practices. 2nd ed. St. Paul, Minn: West Pub., 1992.

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8

Rick, Mattingly, ed. Jazz composition: Theory and practice. Boston, MA: Berklee Press, 2003.

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9

Composition as a cultural practice. Westport, Conn: Bergin & Garvey, 1994.

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10

Cruz, Rui M. S. Practical food and research. Hauppauge, N.Y: Nova Science Publishers, 2010.

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11

Classic essays in legal advocacy. Clark, NJ: Lawbook Exchange, 2010.

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12

Patent claim construction. New York: Aspen Law & Business, 2001.

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13

1947-, Porter Karen K., ed. Introduction to legal writing and oral advocacy. New York, NY: M. Bender, 1989.

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14

1942-, Falk Mary R., and Shapo Helene S. 1938-, eds. Writing for law practice. 2nd ed. New York, N.Y: Thomson Reuters/Foundation Press, 2010.

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15

Fajans, Elizabeth. Writing for law practice. 2nd ed. New York, N.Y: Thomson Reuters/Foundation Press, 2010.

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16

1942-, Falk Mary R., and Shapo Helene S. 1938-, eds. Writing for law practice. New York, N.Y: Foundation Press, 2004.

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17

Guzy, Annmarie. Honors composition: Historical perspectives and contemporary practices. [Ames, Iowa]: National Collegiate Honors Council, 2003.

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18

Cruz, Rui M. S. Practical food and research. Hauppauge, N.Y: Nova Science Publishers, 2010.

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19

Doty, David B. Uncommon practice: Selected compositions 1984-1995. Lebanon, NH: Frog Peak Music, 1999.

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20

Ancient compositional practices and the synoptic problem. Ottawa: National Library of Canada, 2001.

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21

Clarke, Eric F., Mark Doffman, David Gorton, and Stefan Östersjö. Fluid practices, solid roles? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0009.

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This chapter investigates the relationship between the fluid practices that frequently characterize the work of contemporary musicians, and the more solid roles of performer and composer that continue to hold sway in contemporary music. Focusing on a case study of the collaborative creation of Forlorn Hope for eleven-string alto guitar and electronics, by Gorton and Östersjö, the chapter analyses the processes that lead from research and experimentation with particular guitar tunings and playing techniques, through a more conventionally compositional phase, to the first public performance of the piece. The chapter demonstrates how the affordances of both the instrument in the hands of Östersjö and the particular tuning specified by Gorton combined with improvised discoveries, and the ‘filtering’ force of a piece by Dowland, result in a piece whose creative ecology is distributed across a variety of timescales and practices.
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22

Maw, David. Improvisation as composition. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199355914.003.0021.

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The close connection between improvisation and composition in the French organ school over several centuries warrants analysis of these practices in similar terms, and the advent of recording has afforded the means for carrying it out. This chapter analyses the work of Charles Tournemire and Louis Vierne, who were amongst the earliest organists to record improvisations. Highly accomplished composers and improvisers, they were also noted teachers, and the terms in which they taught improvisation serve to contextualize analysis of their own practice. Vierne emphasized a schematic approach, while Tournemire focused on spontaneity. This difference is mirrored in the contrast of their compositional styles. However, for both men their improvisational practice demonstrates a need to manifest itself self-consciously by exceeding the bounds of compositional convention.
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23

Derrenbacker, R. A. Jr. Ancient Compositional Practices And the Synoptic Problem (Bibliotheca Ephemeridum Theologicarum Lovaniensium, 186) (Bibliotheca Ephemeridum Theologicarum Lovaniensium). Peeters Publishers, 2006.

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24

Martin, Henry. Charlie Parker, Composer. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923389.001.0001.

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Charlie Parker, Composer is the first assessment of a major jazz composer’s oeuvre in its entirety. Providing analytical discussion of each of Parker’s works, this study combines music-theoretical, historical, and philosophical perspectives. A variety of analytical techniques are brought to bear on Parker’s compositions, including application of a revised Schenkerian approach to the music that was developed through the author’s prior publications. After a review of Parker’s life emphasizing his musical training and involvement in composition, the book proceeds by considering the types of Parker pieces as categorized by overall form and harmony and the amount of preplanned music they contain. The historical circumstances of each piece are reviewed, and, in some cases, sources of the ideas of the most important tunes are explored. The introduction includes a discussion of the ontology of a jazz composition. The view is advanced that the Western concept of a music composition needs to be expanded to embrace practices typical of jazz composition and forming a significant part of Parker’s work. While focusing on Parker’s more conventional tunes, the book also considers his large-scale melodic formulas. Two formulas in particular are arguably compositional, since they are extensive and sometimes appear in subsequent improvisations. As part of the research for this book, all of Parker’s copyright submissions to the Library of Congress were examined and photographed. The book reproduces the four of them that were copied by Parker himself.
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25

Tyler, Daniel, ed. Poetry in the Making. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.001.0001.

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Poetry in the Making investigates the compositional practices of Victorian poets, as made evident in the autograph manuscripts of their poems. Written in an accessible and stimulating style, the book offers careful readings of individual drafts, paying attention to the revisions, cancellations, interlineations, trials of rhyme and form, and sometimes the large structural changes that these documents reveal. The book shows how manuscript revisions offer insights into the creative priorities and decisions of major Victorian poets (Wordsworth, Tennyson, the Brownings, Clough, Hopkins, Christina Rossetti, Swinburne, and Yeats); and investigates ideas of composition in the period, particularly the uneasy balance between inspiration and labour. Collectively, the chapters develop a survey of how Victorian poets experienced and understood their own creativity, setting abstract claims about inspiration and craftsmanship against their own practical experiences. The book testifies to the value for criticism of poetic drafts, establishing the significance of revision and of manuscript studies for the field of Victorian poetry and for literary scholarship more generally.
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26

Shrock, Dennis. Giovanni Pierluigi da Palestrina – Missa Papae Marcelli. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0002.

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The chapter begins with a biographical and compositional overview, including discussions of Palestrina’s various positions in and outside of Rome; his compositional output that numbered 104 Masses, approximately 500 motets, and approximately 140 madrigals; the nature of his Masses, many of which are based on previously composed models; the papacy and the Counter-Reformation; and mandates of the Council of Trent. Musical discussion in this chapter focuses on unique characteristics of the Missa Papae Marcelli and its legacy. Performance practices include: pitch and performing forces; meter and tactus, with considerable focus on syncopation; the importance of oratorical phrasing; tempo and its variability; and musica ficta.
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27

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 their compositional theories in a new level of linguistic and stylistic analysis, which is now available through the recently launched Tiberias Project: A Web Application for the Stylistic Analysis and Categorization of Hebrew Scriptures, directed by the author of the book, Joshua Berman, and the computational linguist, Moshe Koppel.
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28

Ramnarine, Tina K., ed. Global Perspectives on Orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.001.0001.

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This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an institution. Orchestral musicians' testimonies are included to give practitioners' views. The study of orchestras contributes to developing global music histories and comparative theorization within ethnographic disciplines. This book offers timely insights into the connections between orchestras, colonial histories, postcolonial practices, and comparative theorizations to generate appreciation of orchestral performance as a creative, political and social practice.
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29

Williams, James Gordon, and Robin D. G. Kelley. Crossing Bar Lines. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.001.0001.

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This book provides an interpretive framework for understanding how African American creative improvisers think of musical space. Featuring a Foreword by eminent scholar Robin D.G. Kelley, this is the first critical improvisation studies book that uses Black Geographies theory to examine the spatial values of musical expression in the improvisational and compositional practices of trumpeters Terence Blanchard and Ambrose Akinmusire, drummers Billy Higgins and Terri Lyne Carrington, and pianist Andrew Hill. Bar lines in this book serve as a notational and spatial metaphor for social constraints connected to systemic and structural white supremacy. Crossing them therefore applies not only to conceptions of Black spatiality in musical practices but also to how African American musicians address structural barriers to fight the social injustices that obstruct freedom and full citizenship for African Americans and other marginalized groups. Defined by both liminal and quotidian reality, Black musical space, like Black feminist thought, is about theorizing through the lived experiences of Black people which reflect different genders, sexual identities, political stances, across improvisational eras. Using this theory of Black musical space, the book explains how these dynamic musicians explicitly and implicitly articulate humanity through compositional and improvisational practices, some of which interface with contemporary social movements like Black Lives Matter. Consequently, Crossing Bar Lines not only fills a significant gap in the literature on African American, activist musical improvisation and contemporary social movements, but it gives the reader an understanding of the complexity of African American musical practices relative to fluid political identities and sensibilities.
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30

Blanton, L. L. Composition Practice (Elementary Composition Practice). 2nd ed. Longman Higher Education, 1988.

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31

Blanton, L. L. Composition Practice (Elementary Composition Practice). 2nd ed. Longman, 1988.

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32

Drafting Contracts - a Practical Guide to Transactional Practice. Vandeplas Publishing, 2020.

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33

Moten, Fred. Jurisgenerative grammar (for alto). Edited by George E. Lewis and Benjamin Piekut. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195370935.013.017.

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“Jurisgenerative Grammar” is concerned with the interplay of legality and criminality in the generation of language and music. It examines how a kind of fugitive poetics is enacted in the fall into what Martin Heidegger refers to as thecommercium, a social space marked by the propensity for song, chatter, and idle talk. This essay argues that thecommerciumis, in fact, a place for thought and thoughtful creation. Its aesthetic sociality animates the compositional and improvisational practices in which Anthony Braxton is engaged in the making of his “language musics,” even when such music is given in solo performance.
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34

Scheraga, Mona. Practical English Writing Skills: A Handbook With Practice. 2nd ed. NTC/Contemporary Publishing Company, 1998.

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35

Scheraga, Mona. Practical English Writing Skills: A Handbook With Practice. 2nd ed. NTC/Contemporary Publishing Company, 1998.

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36

Blanton, L. L. Composition Practice. 3rd ed. BPI (India) PVT Ltd, 2002.

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37

Burt, Warren. Thoughts on an Algorithmic Practice. Edited by Roger T. Dean and Alex McLean. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190226992.013.36.

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In this chapter, the composer of algorithmic compositions discusses in detail the creation and application of a range of nondeterministic processes to his own music, video, and verbal composition. In particular, the chapter discusses the more intuitive use of these processes over the last decade or so, and its relation to increasing involvement with improvisation. After considering three particular works and the resources chosen for them (some of music, some of text and some of procedures or formulations with overpowering diversity), the chapter concludes with a discussion of the social context of a contemporary algorithmic musician, and its lack of direct social contact and of economic sustainability.
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38

Shrock, Dennis. George Frideric Handel – Messiah. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0004.

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Messiah is discussed in reference to Handel’s operas, other choral works in general, and other oratorios in specific, with focus on the librettos. Additional historic information covers the premiere of Messiah, audience reactions, and subsequent performances, including the beginning of its popularity after performances in the Foundling Hospital Chapel and large-scale and re-orchestrated festival performances in the 1780s. Musical topics address Handel’s compositional process (e.g., speed of writing, parody of previously composed works, and revision of works from performance to performance) and factors of musical organization. Performance practices issues include vocal and instrumental timbre, pitch, vibrato, metric accentuation, rhythmic alteration, recitative, and ornamentation.
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39

Greenacre, Michael. Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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40

Greenacre, Michael. Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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41

Greenacre, Michael. Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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42

Greenacre, Michael. Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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43

Greenacre, Michael. Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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44

Greenacre, Michael. Compositional Data Analysis in Practice. Chapman and Hall/CRC, 2018. http://dx.doi.org/10.1201/9780429455537.

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45

Compositional Data Analysis in Practice. Taylor & Francis Group, 2018.

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46

Bell, Adam Patrick. Mixing the Multitrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190296605.003.0007.

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Employing the metaphor of mixing a multitrack recording, chapter 7 presents a cross-case analysis that irradiates the salient facets of each case study, bringing to the forefront both the consonant and dissonant relationships across cases. From these analyses, a number of important findings are presented. First, the DIY studio as a music-making entity can be conceptualized as functioning in at least two different models: the do-it-alone (DIA) studio and the do-it-with-others (DIWO) studio. Second, existing computer-based compositional and learning models are referenced to demonstrate how these frameworks need to evolve to reflect current music production practices. Lastly, Lucy Green’s criteria of informal learning are used to examine the learning explained and exhibited by the participants profiled in part II, most notably self-teaching.
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47

Grammar and Composition Practice Book (Grammar and Composition Practice Book). Prentice Hall, 1987.

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48

Barker, James W. Tatian's Diatessaron. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844583.001.0001.

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In the late-second century, Tatian the Assyrian constructed a new Gospel by intricately harmonizing Matthew, Mark, Luke, and John. Tatian’s work became known as the Diatessaron, since it was derived “out of the four” eventually canonical Gospels. Although it circulated widely for centuries, the Diatessaron disappeared in antiquity. Nevertheless, numerous ancient and medieval Gospel harmonies survive in various languages. Some texts are altogether independent of the Diatessaron, while others are definitely related. Yet even Tatian’s known descendants differ in large and small ways, so attempts at reconstruction have proven confounding. This book forges a new path in Diatessaron studies. Covering the widest array of manuscript evidence to date, it reconstructs the ancient compositional practices and redactional tendencies by which Tatian wrote his Gospel. Then, by sorting every extant witness according to its narrative sequence, the macrostructure of Tatian’s Gospel becomes clear. Despite many shared agreements, there remain significant divergences between eastern and western witnesses. This book argues that the eastern ones preserve Tatian’s order, whereas the western texts descend from a fourth-century recension of the Diatessaron. Victor of Capua and his scribe used the recension to produce the Latin Codex Fuldensis in the sixth century. More controversially, the book offers new evidence that late medieval texts such as the Middle Dutch Stuttgart harmony independently preserve traces of the western recension. This study uncovers the composition, transmission, and reception history behind one of early Christianity’s most elusive texts.
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49

Shrock, Dennis. Johann Sebastian Bach – B Minor Mass. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.003.0003.

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Historical discussion focuses on the lineage of the Bach family, compositions determined by circumstances of employment, the composition of Lutheran Masses, the possible rationale for composing a Catholic Mass, and the history of the B Minor Mass in terms of manuscripts, performances, and editions. Musical discussion focuses on parody technique, the assemblage of four disparate units of composition into the B Minor Mass, comparisons of stile antico and stile moderno characteristics of the Mass, and formal and musical structures of the Mass, with special attention to structural balance and mirror dispositions. Performance practices include singers and instrumentalists and their arrangements in performance, meter as it affects tempo, rhythmic alteration, and ornamentation.
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50

Shrock, Dennis. Choral Monuments. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469023.001.0001.

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This book provides extensive and in-depth material about eleven epoch-making choral masterworks that span the history of Western culture from the Renaissance to the modern era. Included are Missa Pange lingua (Josquin Desprez); Missa Papae Marcelli (G. P. da Palestrina); B Minor Mass (J. S. Bach); Messiah (G. F. Handel); The Creation (Joseph Haydn); Symphony no. 9 (Ludwig van Beethoven); St. Paul (Felix Mendelssohn); Ein deutsches Requiem (Johannes Brahms); Messa da Requiem (Giuseppe Verdi); Mass (Igor Stravinsky); and War Requiem (Benjamin Britten). The works are presented in separate chapters, with each chapter divided into three basic sections—history, analysis, and performance practice. Discussions of history include biographical information about composers related to the work at hand, historical perspectives, and text sources. Analyses are focused on formal and musical structures, salient compositional techniques, and elements of music particular to the work being discussed, including parody and motivic organization. The discussion of performance practices includes primary source quotations about a wide range of topics, from performing forces, tempo, and phrasing of each work to specific issues such as tactus, text underlay, musica ficta, metric accentuation, rhythmic alteration, recitative, fermatas, and ornamentation. Musical examples and primary source quotes illuminate the material.
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