Performing with Structure
This chapter poses the question of how one synthesizes analysis and performance. Its centerpiece is Leathwood’s analysis of local frictions and long-range connections in the pitch structure of Carter’s Changes; his demonstration of their embodiment in guitaristic timbres, tactile shapes, and kinesthetic moves; and his modeling of how such knowledge might be internalized to inspire vital and free performances. “Improvising Changes: Exercises for Guitarists” and an accompanying video provide practical applications. Leong’s Prelude and Postlude frame Leathwood’s material and highlight how a “third culture” of analysis and performance can be inhabited and passed on—modeled and taught in studio and classroom.
1984 ◽
Vol 21
(3)
◽
pp. 234-240
◽
2012 ◽
Vol 535-537
◽
pp. 2438-2441
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