Esoteric Bimodality and 20th Century Jazz

[Tatsu]

I'm a composer. My most recent compositions are
based on modes outside of the normal major/minor
such as melodic minor #4 or melodic minor b2 b5 etc...

I'm an American but I studied towards a masters in music composition
in Korea from an expert on Lutoslavski a composer in the vein of
Messiaen.

My current compositions are a constantly changing bimodal approach
sometimes using chord progressions which are substitutes of the ii V
I, sometimes taken from developments within Romanticism, and sometimes
these esoteric modes I mentioned while at the same time having
melodies which only touch on the tones of the chosen mode at the level
of the middle ground, allowing me to make my soloist sound like a
consumate improvisor.

I do a lot of reading and am always trying to improve
my understanding and I would like to study some scores. I
recently read an article about how some theorist criticized Schoenberg
for placing atonal music in sonata form meant for tonal music and how
a new form was needed for other musics of the 20th century based on
proportions within the materials chosen by the composer.

My own works are in variations of ternary or kinds of Suites. I wonder
if someone could give me directions on where to look for a logical
development of the form for works such as mine and perhaps other
comments that come to mind if you can make the time to share them.

In summary, I'm looking for either the name of a composer who places his compositional
techniques within a form based on proportions of the materials chosen by
the composer such as the given modal scale whose score I can look at on the IMSLP
Forums, OR someone someone knowledgeable about 20th Century musical forms beyond
the Sonata who can just tell me how to do it.

Thanks,