Performing knowledge : twentieth-century music in analysis and performance /

Call Number:

Schlüsselwörter:

Notes:

Includes bibliographical references and index.Theme : Performers, structure, and ways of knowing -- Counterpoint : Cross-disciplinary collaboration -- Variations. Performance [to] analysis. Determination of structure : Performers' voices on Ravel's Concerto pour la main gauche / with David Korevaar, pianist. Creation of structure : Interpreting Schoenberg's Klavierstück, op. 19, no. 4 / with Hunter Ewen, composer. Understanding of structure : Performed rhythm at the center of Bartók's Fifth string quartet / with the Takács Quartet ; Analysis [to] performance. Story in structure : Schnittke's Piano quartet and "the attempt to remember" / with Judith Glyde, cellist. Poetry in structure : Counterpointing motion in Milhaud's "Aurore" / with Adam Ewing, baritone. Drama in structure : Enacting ritual and drama : the two pianos of Messiaen's Visions de l'Amen / with Alejandro Cremaschi, pianist ; Performance & analysis. Script versus structure : Virtuosity in Babbitt's Lonely flute, with reflections on process / with Elizabeth McNutt, flute. Performing with structure : Local frictions and long-range connections in Carter's Changes for guitar / Jonathan Leathwood, guitarist ; with Leong. Reception and structure : Morris's Clear sounds, audiences, and new music / with Robert Morris, composer -- Counterpoint : Cross-disciplinary collaboration -- Theme : Performers, structure, and ways of knowing.How do musical analysis and performance relate? In a unique collaborative approach to this question, theorist-pianist Daphne Leong partners with internationally renowned performers to interpret twentieth-century repertoire. Imaginative explorations of music by Ravel, Schoenberg, Bart'ok, Schnittke, Milhaud, Messiaen, Babbitt, Carter, and Morris illuminate focal issues such as the role of embodiment, the affordances of a score, the cultural understanding of notation, the use of metaphor, and - to round out the viewpoints of theorist and performers with those of composer and listeners - the role of structure in audience reception. Each exploration engages deeply with musical structure, redefined to encompass the creative activity of composers, performers, analysts, and listeners. Performances, demonstrations, and interviews online complement the books written text; practical application and pedagogical guidance round out theoretical and analytical content. The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leongs theory of the things and people that facilitate cross-disciplinary collaboration in music. They also exemplify the antagonisms and synergies that emerge when theorists and performers meet. Both flexibly and rigorously conceived, Performing Knowledge is a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers. --