[SMT-PAIG] Collaborating on analysis & performance

[Daphne Leong]

DIALOGUES: Analysis and Performance<https://www.analysisandperformance.org/overview> (International Symposium 2021)
Oct. 7-9, 2021
hybrid format
University of Toronto Faculty of Music

announces the following workshop, and calls for active participants.

Cross-disciplinary collaborations: Analysis and Performance
   workshop leader: Daphne Leong


Relations between analysis and performance are fascinating yet controversial. This workshop brings theorists / analysts and performers together to collaborate, and to examine the insights that emerge from working together. To facilitate this process, the workshop will address some of the nuts and bolts of such collaborations:



  *   project goals and questions
  *   sample methodologies
  *   timelines
  *   discoveries and pitfalls
  *   performance, presentation, and publication
  *   pedagogical applications



In keeping with the symposium theme, the workshop will explore music of the 20th and 21st centuries; particular focus will be placed on the music of underrepresented composers.


Call for active participants

graduate students / professional / faculty

application deadline: July 21

notification by: July 28



Participants may be individuals, or pre-formed pairs or small groups (maximum 5). Individuals will be paired up with other applicants; each pair or small group should represent both performance and analytical expertise. Each group will explore a short musical passage (c. 30 – 60 seconds), bringing analytical and performance considerations into dialogue. Participants may propose their own repertoire, or explore a passage suggested according to the group’s performing expertise. Groups will prepare a 10-min. presentation which will be given and discussed during the workshop. (Presentation preparation will take place August through early September; groups will be given prompts and are welcome to communicate with Daphne Leong as needed.) While in-person participation is preferred, virtual participation is also invited. No expertise in collaborating on analysis and performance is necessary; expertise in either analysis or performance is required.


To apply, individuals or groups should send a single e-mail, by July 21, to analysisandperformance2021 at gmail.com<mailto:analysisandperformance2021 at gmail.com> with the following information:

  1.  name, e-mail address, and brief summary of relevant professional/academic background (if applying as a group, please provide this information for each member).
  2.  repertoire:

  *   if you do not wish to propose repertoire, please indicate your general repertoire preferences (instrumentation, etc.).

·         to propose repertoire, please send a score (or a transcription or other representation) of the excerpt and a few lines about your reasons for choosing it. A recording, if available, would be helpful. Repertoire should be post-1900; music by underrepresented composers is encouraged.

  1.  participation: please indicate whether you plan/hope to participate in-person or virtually



Workshop participants will need to register for the workshop as an individual event, or for the symposium. Any questions can be directed to analysisandperformance2021 at gmail.com<mailto:analysisandperformance2021 at gmail.com>.



Sample repertoire:



Nicole Lizée – Vertigo Beach (2007) (pn), I, opening

George Walker – Sonata no. 2 (1966) (pn), opening

Alban Berg – “Schlafend trägt man mich …,” Four Songs, Op. 2, No. 2 (1910)


Theorist-pianist DAPHNE LEONG has worked collaboratively with performers in both chamber music and research settings. Her first collaborative publication, with flautist Elizabeth McNutt on Babbitt’s Lonely Flute, appeared in Music Theory Online in 2005. This was followed by others in both theory and performance venues, and most recently by her book, Performing Knowledge: 20th-Century Music in Analysis and Performance (Oxford, 2019), which presents nine case studies in collaboration with internationally-known performers. Leong has published in venues such as Journal of Music Theory, Perspectives of New Music, Theory and Practice, and in multiple edited collections; she is also an active pianist and chamber musician whose performances and recordings include premieres of current music.


 ____________________________________________
Daphne Leong
Associate Professor, Music Theory
College of Music, University of Colorado Boulder
http://www.colorado.edu/music/daphne-leong
book: Performing Knowledge<https://global.oup.com/academic/product/performing-knowledge-9780190653545?cc=us&lang=en&>

The College of Music at CU Boulder acknowledges that the University sits upon land within the territories of the Ute, Cheyenne, and Arapaho peoples. Further, we acknowledge that 48 contemporary tribal nations are historically tied to the lands that make up the state of Colorado.

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