Daphne Leong
Biographic Data
| ID | 3684968 |
|---|---|
| NAME | Daphne Leong |
| GIVEN NAMES | Daphne |
| FAMILY NAME | Leong |
| SIGNATURE | LEONG D |
| AFFILIATIONS | University of Colorado Boulder |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 8 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Meter as a Prism. Interpreting a Theme in Sibelius’s Violin Concerto
The lyrical second theme in the first movement of Sibelius’s Violin Concerto presents a metric conundrum: it is notated and barred in two distinct ways. One measure of 6/4 in the exposition corresponds to two measures of 2/2 in the recapitulation. This essay in multimedia modular format explores the meaning of the metric distinction, considering 1904 and 1905 versions of the concerto and Sibelius’s correspondence; performances and performing edit…
Le rythme dans la musique depuis 1900. Perspectives théoriques et pratiques
Le rythme dans la musique depuis 1900. Perspectives théoriques et pratiques. Un article de la revue Revue musicale OICRM (Rhythm in Music since 1900. Views from Theory and Practice) diffusée par la plateforme Érudit
Rhythm in Music since 1900. Views from Theory and Practice
Shaping Babbitt's Semi-Simple Variations
This essay creates an interpretive map of Babbitt's Semi-Simple Variations, focusing on the roles of ‘anti-events’ (rests, the sustained portions of notes, certain performance indications) in conjunction with other musical elements. The ‘anti-events’ play expressive roles—growing, resonating, hinging, and spacing—and help to shape a performative conception of the piece
SMT’s Interest Groups
Provides a history of the interest groups of the Society for Music Theory, summarizing and illustrating the groups’ five main functions and describing the groups’ cumulative effect on the field of music theory and its modes of engagement. Demonstrates the broadening of the field by comparing the main topics of music-theoretic study at the SMT’s tenth anniversary (1987) with the topics of the interest groups at the SMT’s fortieth anniversary (2017…
AnalysisandPerformance, orwissen, können, kennen
To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to "music as performance," this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their d…
Webs and Snares
Babbitt's propensity for multiple references ("puns") is explored through examination ofHomily(1987) for snare drum andBeaten Paths(1988) for marimba, two short percussion pieces based on the same 4-part all-partition array.Homilypresents an M7version of the array in time, changing durational units at each aggregate, and articulating lynes by dynamics.Beaten Pathspresents the array in pitch as two R-related arrays combined in a superarray, as wel…
Response to Janet Schmalfeldt’s Response
The Performer's Voice
1] Janet Schmalfeldt, in her ground-breaking article "On the Relation of Analysis to Performance" (1985, 2), challenges analysts to develop "a comprehensive critique of the value and the limitations of analysis for performance."We wish to turn this goal on its head: to explore the value and limitations of performance for analysis.What can a performer's voice contribute to the analysis of a work?[2] We take the opening cadenza of Ravel's Concerto …
Virtuosity in Babbitt's Lonely Flute
Virtuosity in Babbitt's Lonely Flute
AnalysisandPerformance, orwissen, können, kennen
To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to "music as performance," this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their d…
Webs and Snares
Babbitt's propensity for multiple references ("puns") is explored through examination ofHomily(1987) for snare drum andBeaten Paths(1988) for marimba, two short percussion pieces based on the same 4-part all-partition array.Homilypresents an M7version of the array in time, changing durational units at each aggregate, and articulating lynes by dynamics.Beaten Pathspresents the array in pitch as two R-related arrays combined in a superarray, as wel…
The Performer's Voice
1] Janet Schmalfeldt, in her ground-breaking article "On the Relation of Analysis to Performance" (1985, 2), challenges analysts to develop "a comprehensive critique of the value and the limitations of analysis for performance."We wish to turn this goal on its head: to explore the value and limitations of performance for analysis.What can a performer's voice contribute to the analysis of a work?[2] We take the opening cadenza of Ravel's Concerto …
Response to Janet Schmalfeldt’s Response
The Performer's Voice
1] Janet Schmalfeldt, in her ground-breaking article "On the Relation of Analysis to Performance" (1985, 2), challenges analysts to develop "a comprehensive critique of the value and the limitations of analysis for performance."We wish to turn this goal on its head: to explore the value and limitations of performance for analysis.What can a performer's voice contribute to the analysis of a work?[2] We take the opening cadenza of Ravel's Concerto …
Virtuosity in Babbitt's Lonely Flute
Webs and Snares
Babbitt's propensity for multiple references ("puns") is explored through examination ofHomily(1987) for snare drum andBeaten Paths(1988) for marimba, two short percussion pieces based on the same 4-part all-partition array.Homilypresents an M7version of the array in time, changing durational units at each aggregate, and articulating lynes by dynamics.Beaten Pathspresents the array in pitch as two R-related arrays combined in a superarray, as wel…
AnalysisandPerformance, orwissen, können, kennen
To counter the view that types of musical analysis not immediately relevant to performers are irrelevant to "music as performance," this essay suggests that music exists in various states, and that changes between such states constitute transformations. Score-based analysis of musical structure and study of musical performance contribute to the understanding of music in this broad sense; analysis and performance dialogue productively when their d…
SMT’s Interest Groups
Provides a history of the interest groups of the Society for Music Theory, summarizing and illustrating the groups’ five main functions and describing the groups’ cumulative effect on the field of music theory and its modes of engagement. Demonstrates the broadening of the field by comparing the main topics of music-theoretic study at the SMT’s tenth anniversary (1987) with the topics of the interest groups at the SMT’s fortieth anniversary (2017…
Shaping Babbitt's Semi-Simple Variations
This essay creates an interpretive map of Babbitt's Semi-Simple Variations, focusing on the roles of ‘anti-events’ (rests, the sustained portions of notes, certain performance indications) in conjunction with other musical elements. The ‘anti-events’ play expressive roles—growing, resonating, hinging, and spacing—and help to shape a performative conception of the piece
Meter as a Prism. Interpreting a Theme in Sibelius’s Violin Concerto
The lyrical second theme in the first movement of Sibelius’s Violin Concerto presents a metric conundrum: it is notated and barred in two distinct ways. One measure of 6/4 in the exposition corresponds to two measures of 2/2 in the recapitulation. This essay in multimedia modular format explores the meaning of the metric distinction, considering 1904 and 1905 versions of the concerto and Sibelius’s correspondence; performances and performing edit…
Le rythme dans la musique depuis 1900. Perspectives théoriques et pratiques
Le rythme dans la musique depuis 1900. Perspectives théoriques et pratiques. Un article de la revue Revue musicale OICRM (Rhythm in Music since 1900. Views from Theory and Practice) diffusée par la plateforme Érudit
Rhythm in Music since 1900. Views from Theory and Practice
Musicology and Musical Analysis (8 works) · Art (7 works) · Visual arts (4 works) · Art history (3 works) · Babbitt (3 works) · Diverse Music Education Insights (3 works) · Engineering (3 works) · Musical (3 works) · Neuroscience and Music Perception (3 works) · Aesthetics (2 works)