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<p class="MsoNormal"><span style="color:black">Dear colleagues,</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black">I am pleased to announce the publication of<span class="apple-converted-space"> </span><i><a href="https://global.oup.com/academic/product/performing-knowledge-9780190653545?cc=us&lang=en&"><span style="color:#954F72">Performing Knowledge:
Twentieth-Century Music in Analysis and Performance</span></a></i><span class="apple-converted-space"> </span>(Oxford Studies in Music Theory, November 2019).</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black">The book description is below.</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black">Enter promotion code AAFLYG6 at the link above to receive a 30% discount.</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black">With good wishes for 2020,</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black">Daphne Leong</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;color:black">____________________________________________</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;color:black">Daphne Leong </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;color:black">Associate Professor, Music Theory </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;color:black">College of Music, University of Colorado Boulder</span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="font-size:10.5pt;color:black"><a href="http://www.colorado.edu/music/daphne-leong">http://www.colorado.edu/music/daphne-leong</a></span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<span style="color:black"> </span><span style="font-size:13.5pt;color:black"><o:p></o:p></span></p>
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<b><i><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">Performing Knowledge: Twentieth-Century Music in Analysis and Performance</span></i></b><span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black"><o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">Daphne Leong<o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black"> <span class="apple-converted-space"> </span><o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">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, Bartók, 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.<o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black"> <o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">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 book’s written text; practical application and pedagogical guidance round out theoretical and analytical content.<o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black"> <o:p></o:p></span></p>
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<span style="font-size:12.0pt;font-family:"Times New Roman",serif;color:black">The collaborations themselves demonstrate different dimensions of knowledge at the intersection of analysis and performance, and illustrate Leong’s 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,<span class="apple-converted-space"> </span><i>Performing Knowledge</i><span class="apple-converted-space"> </span>is
a brave crossing of disciplinary divides between scholarship and practice, a work of analysis shaped by the voices of performers.<o:p></o:p></span></p>
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