The following bibliography of publications in performance and analysis was compiled by PAIG members from the group’s founding through around 2011. If you are interested in helping us develop this bibliography further, please contact PAIG co-chairs Daniel Barolsky and Edward Klorman:

To recommend an item for the bibliography, please use the following form:

Abbate, Carolyn. “Music–Gnostic or Drastic?” Critical Inquiry 30 (2004): 505–536. MO/E

Barolsky, Daniel G. “The Performer as Analyst.” Music Theory Online 13, no. 1 (March 2007).

Barolsky, Daniel G. “Embracing imperfection in Benno Moiseiwitsch’s Prelude to Chopin.” Music Performance Research 2 (2008): 46-80.

Bass, Richard. “`Approach Strong Deliveress!’ from George Crumb’s Apparition: A Case Study in Analysis and Performance of Post-Tonal Music.” Journal of Music Theory Pedagogy 16 (2002): 57-77.

Bazzana, Kevin. Glenn Gould: The Performer in the Work: A Study in Performance Practice. Oxford: Clarendon Press, 1997.

Bergé, Pieter. “The art of not playing an analytical observation: Some remarks on the main theme structure of Beethoven’s Adagio op. 31/2, ii.” Tijdschrift voor muziektheorie (Dutch Journal of Music Theory) 14, no. 1 (2009), 62-69. DK

Berry, Wallace. Musical Structure and Performance. New Haven: Yale University Press, 1989.

Berry, Wallace. “Formal Process and Performance in the Eroica Introductions.” Music Theory Spectrum 10 (1988): 3-18.

Bowen, Jose A. “Performance Practice versus Performance Analysis: Why Should Performers Study Performance?” Performance Practice Review 9, no. 1 (Spring 1996): 16-35.

Bowen, Jose A. “Tempo, Duration, and Flexibility: Techniques in the Analysis of Performance.” Journal of Musicological Research 16, no. 2 (1996): 111-56.

Bowen, José A. “The History of Remembered Innovation: History and Its Role in the Relationship between Musical Works and Their Performances.” Journal of Musicology 11, no. 2 (Spring 1993): 139-73.

Braus, Ira. “Clouds or Fog? Demystifying Meter, Harmony, and Form in Debussy’s Nuages.” Journal of Musicological Research 19 (2000): 329-72.

Braus, Ira. “Dancing to Haydn’s Fiddle: A Reply to Floyd Grave’s `Metrical Dissonance in Haydn’.” Indiana Theory Review17 (1996): 25-35.

Braus, Ira. “Making `Impossible’ Rhythms and Figures Possible.” In Computing in Musicology: An International Directory of Applications, vol. 10, ed. Walter B. Hewlett & Eleanor Selfridge-Field (Menlo Park, CA: Center for Computer-Assisted Research in the Humanities, 1996), 194-96.

Braus, Ira. “An Unwritten Metrical Modulation in Brahms Intermezzo Op.119, No.2.” Brahms Studies 1, ed. David Brodbeck (University of Nebraska, 1994): 161-69.

Braus, Ira. “Why Doesn’t Anyone Play bars 1-11 of Tristan in Tempo?” Journal of Music Theory Pedagogy 4, no. 1 (1990): 115-18.

Brumbeloe, Joseph. “Patterns and Performance Choices in Selected Perpetual-Motion Movements by J. S. Bach.” Theory and Practice 25 (2000): 1-26.

Burkhart, Charles. “Mid-bar Downbeat in Bach’s Keyboard Music.” Journal of Music Theory Pedagogy 8 (1994): 3-26.

Burkhart, Charles. “Schenker’s Theory of Levels and Musical Performance.” In Aspects of Schenkerian Theory, ed. David Beach (New Haven: Yale University Press, 1983), 95-112.

Butterfield, Matthew. “The Musical Object Revisited.” Music Analysis 21, no. 3 (October 2002): 327-380.

Clarke, Eric F, Nicholas Cook, Bryn Harrison, & Philip Thomas. “Interpretation and Performance in Bryn Harrison’s être-temps.” Musicae Scientiae 9, no. 1 (Spring 2005): 31-74.

Clarke, Eric F. “Empirical Methods in the Study of Performance.” In Empirical Musicology: Aims, Methods, Prospects, ed. Eric Clarke and Nicholas Cook (Oxford: Oxford University Press, 2004), 77-102.

Clarke, Eric F. “Expression in Performance: Generativity, Perception, and Semiosis.” In The Practice of Performance, ed. John Rink (Cambridge: Cambridge University Press, 1995), 21-54.

Clarke, Eric F. “Generativity, Mimesis, and the Human Body in Music Performance.” Contemporary Music Review 9, no. 1 (1993): 207–219. MO/T

Clarke, Eric F. “Generative Principles in Music Performance.” In Generative Processes in Music, edited by John Sloboda. New York: Oxford University Press, 1989), 1-26. MO/T

Clynes, Manfred E. Expressive Microstructure in Music, Linked to Living Qualities. Studies of Music Performance no. 39, edited by Johan Sundberg. Stockholm: Royal Swedish Academy of Music, 1983. MO/T

Cone, Edward T. The Pianist as Critic. In The Practice of Performance, ed. J. Rink, Cambridge: Cambridge University Press (1995), 241-253. DK

Cone, Edward T. Musical Form and Musical Performance. New York: Norton, 1968.
Cook, Nicholas. “Performance analysis and Chopin’s mazurkas.” Musicæ scientiæ: The Journal of the European Society for the Cognitive Sciences of Music 11, no. 2(Fall 2007): 183-207. DK

Cook, Nicholas. “Changing the musical object: approaches to performance analysis,” in Music’s Intellectual History: Founders, Followers and Fads, ed. Zdravko Blazekovic (New York: RILM, forthcoming).

Cook, Nicholas. “Prompting Performance: Text, Script, and Analysis in Bryn Harrison’s être-temps.” Music Theory Online11, no. 1 (March 2005).

Cook, Nicholas. “Making Music Together, or Improvisation and its Others.” The Source: Challenging Jazz Criticism, 1 (2004): 5-25.

Cook, Nicholas. “Music as Performance,” in The Cultural Study of Music: A Critical Introduction , ed. Martin Clayton, Trevor Herbert, and Richard Middleton (London: Routledge, 2003), 204-14.

Cook, Nicholas. “Stravinsky Conducts Stravinsky,” in The Cambridge Companion to Stravinsky, ed. Jonathan Cross (Cambridge: Cambridge University Press, 2003), 176-91.

Cook, Nicholas. “Between Process and Product: Music and/as Performance.” Music Theory Online 7, no. 2 (April 2001).

Cook, Nicholas. “Analysing Performance and Performing Analysis,” in Rethinking Music, ed. Nicholas Cook and Mark Everist (Oxford: Oxford University Press, 1999), 239-61.

Cook, Nicholas. “At the Borders of Musical Identity: Schenker, Corelli, and the Graces.” Music Analysis 18, no. 2 (July 1999): 179-233.

Cook, Nicholas. “Performing Rewriting and Rewriting Performance: The First Movement of Brahms’s Piano Trio, Op. 8.” Tijdschrift voor Muziektheorie, 4 (1999): 227-34.

Cook, Nicholas. “Words about Music, or Analysis versus Performance,” in Theory into Practice: Composition, Performance and the Listening Experience, Nicholas Cook, Peter Johnson, and Hans Zender (Leuven: Leuven University Press, 1999), 9-52.

Cook, Nicholas. “Music Minus One: Rock, Theory, and Performance.” New Formations 27 (1995-96): 23-41.

Cook, Nicholas. “The Conductor and the Theorist: Furtwängler, Schenker, and the First Movement of Beethoven’s Ninth Symphony,” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995), 105-25.

Cook, Nicholas. “The Editor and the Virtuoso, or Schenker vs. Bülow.” Journal of the Royal Musical Association, 116, no. 1 (1991): 78-95.

Cook, Nicholas. Music, Imagination, and Culture. Oxford: Clarendon Press, 1990.

Cook, Nicholas. “Structure and Performance Timing in Bach’s C major Prelude (WTC 1): An Empirical Study.” Music Analysis 6, no. 3 (Oct. 1987): 257-72.

Cox, Arnie. “The Mimetic Hypothesis and Embodied Musical Meaning.” Musicae Scientiae 5, no. 2 (2001): 194–204. MO/E

Cusick, Suzanne G. “Feminist Theory, Music Theory, and the Mind/Body Problem.” Perspectives of New Music 32, no. 1 (Winter 1994): 8-27.

Davies, Stephen. Musical Works and Performances: A Philosophical Exploration. Oxford: Clarendon Press, 2001.

Desain, Peter and Henkjan Honing. “Tempo Curves Considered Harmful.” Contemporary Music Revie w 7 (1993): 123–138. MO/T

Dipert, Randall. “The Composer’s Intentions: An Examination of the Relevance for Performance.” Musical Quarterly 66, no. 2 (April 1980): 205-18.

Dodson, Alan “Expressive timing in expanded phrases: An empirical study of recordings of three Chopin preludes.” Music Performance Research 4 (2011): 2-29.

Dodson, Alan. “Performance, Grouping, and Schenkerian Alternative Readings In Some Passages From Beethoven’s ‘Lebewohl’ Sonata.” Music Analysis 27, no. 1 (2008): 107–134. MO/T

Dunsby, Jonathan. Performing Music: Shared Concerns. Oxford: Clarendon Press, 1995.

Fisher, George and Judy Lochhead. “Analysis, Hearing, and Performance.” Indiana Theory Review 14, no. 1 (Spring 1993): 1-36.

Fisk, Charles. “Performance, Analysis and Musical Imagining, Part II: Schumann’s Kreisleriana, No. 2.” College Music Symposium 37 (1997): 95-108.

Fisk, Charles. “Performance, Analysis and Musical Imagining, Part I: Schumann’s Arabesque.” College Music Symposium36 (1996): 59-72.

Friberg, Anders. “Generative Rules For Music Performance: A Formal Description of a Rule System.” Computer Music Journal 15 (1991): 56–71. MO/T

Gabrielsson, Alf. “The Performance of Music.” In The Psychology of Music, 2nd ed., ed. Diana Deutsch (San Diego: Academic Press, 1999), 501-602.

Gabrielsson, Alf. “Once Again: The Theme from Mozart’s Piano Sonata in A Major (K.331): A Comparison of Five Performances.” In Action and Perception in Rhythm and Music, ed. Alf Gabrielsson (Stockholm: Royal Swedish Academy of Music, 1987), 81-104.

Gieseking, Walter and Karl Leimer. Piano Technique. New York: Dover Publications, 1972.

Godlovitch, Stan. “Performance Authenticity: Possible, Practical, Virtuous,” in Performance and Authenticity in the Arts, ed. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1999), 154-74.

Godlovitch, Stan. Musical Performance: A Philosophical Study. London: Routledge, 1998.

Godøy, Rolf Inge, Egil Haga, and Alexander Refsum Jensenius. “Playing ‘Air Instruments’: Mimicry of Sound-Producing Gestures by Novices and Experts.” Gesture in Human-Computer Interaction and Simulation, Lecture Notes in Computer Science 3881 (2006): 256–267. MO/E

Goodman, Nelson. Languages of Art. Indianapolis: Bobbs-Merrill, 1968.

Grabócz, Márta. “L’analyse narrative au service de l’approche comparative des interprétations dans l’Adagio de Musique pour cordes, percussions et célesta de Béla Bartók.” Musurgia: Analyse et pratique musicales 12/4 (2005), 63-83. DK

Guck, Marion A. “Music Loving, Or the Relationship with the Piece.” Journal of Musicology 15, no. 3 (1997): 343-52.

Hastings, Charise. “The Performer’s Role: Storytelling in Ballades of Chopin and Brahms.” Ph.D. dissertation, University of Michigan, 2006.

Howell, Timothy B. “Analysis and Performance: The Search for a Middleground,” in Companion to Contemporary Musical Thought, vol. 2, eds. John Paynter, Timothy B. Howell, Richard Orton, and Peter Seymour (London: Routledge, 1992), 692-714.

Iyer, Vijay. “Embodied Mind, Situated Cognition, and Expressive Microtiming in African-American Music.” Music Perception 19, no. 3 (2002): 387–414. MO/E

Johnson, Peter. “Performance and the Listening Experience: Bach’s `Erbarme Dich’,” in Theory Into Practice: Composition, Performance and the Listening Experience (Leuven, Belgium: Leuven University Press, 1999), 55-101.

Johnson, Peter. “Musical Works, Musical Performances.” Musical Times 138, no. 1854 (August 1997): 4-11.

Joos, Maxime, and Pierre-Laurent Aimard. “Olivier Messiaen, Vingt Regards sur l’Enfant-Jésus: Analyse, perception et interprétation.” Analyse musicale 44 (Sept. 2002), 67-98. DK

Juslin, Patrick N., Anders Friberg, and Roberto Bresin. “Toward a Computational Model of Expression in Performance: The GERM Model.” Musicae Scientiae, Special Issue 2001-2002 (2002): 63–122. MO/T

Kivy, Peter. Authenticities: Philosophical Reflections on Musical Performance. Ithaca, NY: Cornell University Press, 1995.

Kivy, Peter. Sound and Semblance: Reflections on Musical Representation. Princeton: Princeton University Press, 1984.

Kramer, Lawrence. “Performance and Social Meaning in the Lied: Schubert’s Erster Verlust.” Current Musicology 56 (1994): 5-23.

Kramer, Jonathan. The Time of Music: New Meanings, New Temporalities, New Listening Strategies. New York: Schirmer Books, 1988.

Kraus, Joseph C. “Coaching Mozart’s string quintet in E-flat major: Finding the rhythmic shape.” Music Theory Online 15, no. 2 (June 2009). DK

Krims, Adam. “Marxism, Urban Geography and Classical Recording: An Alternative to Cultural Studies.” Music Analysis20, no. 3 (October 2001): 347-63.

Latartara, John. “Machaut’s Monophonic Vierlai `Tuit mi penser’: Intersections of Language Sound, Pitch Space, Performance, and Meaning,” Journal of Musicological Research 27, no. 3 (2008): 226-253.

Latartara, John. “Pedagogic Applications of Fourier Analysis and Spectrographs in the Music Theory Classroom,” Journal of Music Theory Pedagogy 22 (2008) (in

Latartara, John, and Michael Gardiner. “Analysis, performance, and images of musical sound: Surfaces, cyclical relationships, and the musical work.” Current Musicology 84 (Fall 2007), 53-78. DK

Latartara, John. “Analysis, Performance and Images of Musical Sound: Surfaces, Cyclical Relationships and the Musical Work,” Current Musicology 84 (2007): 53-78.

Latartara, John. “Theoretical Approaches Towards Qin Analysis: Water and Clouds over Xiao Xiang,” Ethnomusicology 49, no. 2, (Spring/Summer 2005): 232-265.

Latartara, John. “Multi-Dimensional Musical Space in Hildegard’s O rubor sanguinis: Tetrachord, Language, Sound, and Meaning,” Indiana Theory Review 25, nos. 1-2 (2004): 39-74.

Le Guin, Elizabeth. Boccherini’s Body: An Essay in Carnal Musicology. Los Angeles: University of California Press, 2006. MO/E

Leman, Marc, Frank Desmet, Frederik Styns, Leon van Noorden, and Dirk Moelants. “Sharing Musical Expression through Embodied Listening: A Case Study Based on Chinese Guqin Music.” Music Perception 26, no. 3 (2009): 263–278. MO/E

Leong, Daphne and David Korevaar. “The Performer’s Voice: Performance and Analysis in Ravel’s Concerto pour la main gauche.” Music Theory Online 11, no. 3 (September 2005)

Leong, Daphne, and Elizabeth McNutt. “Virtuosity in Babbitt’s Lonely Flute.” Music Theory Online 11/1 (2005). Also “Response to Janet Schmalfeldt’s Response, and “A Postscript on Process.” Music Theory Online 11, no. 1 (March 2005).

Lester, Joel. “Performance and Analysis: Interaction and Interpretation,” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995), 197-216.

Lester, Joel. Bach’s Works for Solo Violin: Style, Structure, Performance. Oxford: Oxford University Press, 1999.

Lester, Joel. “How Theorists Relate to Musicians.” Music Theory Online 4, no. 2 (1998).

Levy, Janet. “Beginning-ending ambiguity: Consequences of performance choices.” In The Practice of Performance, ed. J. Rink. Cambridge: Cambridge University Press (1995), 150-169. DK

Lowe, Bethany. “On the relationship between analysis and performance: The mediatory role of the interpretation.” Indiana Theory Review 24 (Spring-Fall 2003): 47-94. DK

Margulis, Elizabeth Hellmuth. “Repetition Detection across Multiple Exposures.” In Proceedings of the Eleventh International Conference on Music Perception and Cognition (ICMPC11), Seattle, WA, edited by Steven M. Demorest, Steven J. Morrison, and Patricia S. Campbell, 325. Seattle, WA: University of Washington Press, 2010. MO/E

Martin, Sarah. Review of Performing Music: Shared Concerns, by Jonathan Dunsby and The Practice of Performance: Studies in Musical Interpretation, ed. John Rink. Music Analysis 17, no. 1 (March 1998): 108-21.

Maus, Fred Everett. “Musical Performance as Analytical Communication,” in Performance and Authenticity in the Arts, eds. Salim Kemal and Ivan Gaskell (Cambridge: Cambridge University Press, 1999), 129-53.

Maus, Fred Everett. “Agency in Instrumental Music and Song.” College Music Symposium 29 (1989): 31-43.

McClelland, Ryan. “Discontinuity and performance: The allegro appassionato from Brahms’s sonata op. 120, no. 2.” Tijdschrift voor muziektheorie ( Dutch Journal of Music Theory) 12, no. 2 (May 2007): 200-214. DK

McClelland, Ryan. “Performance and analysis studies: An overview and bibliography.” Indiana Theory Review 24 (Spring-Fall 2003): 95-106. DK

McCreless, Patrick. “Analysis and performance: A counterexample?” Tijdschrift voor muziektheorie ( Dutch Journal of Music Theory) 14, no. 1 (2009): 1-16. DK

McKee, Eric. “Dance and the Music of Chopin: The Waltz.” In The Age of Chopin: Interdisciplinary Inquiries, ed. H. Goldberg. Bloomington, IN: Indiana University Press, 2004, 106-161. MO/E

Mead, Andrew. “Bodily Hearing: Physiological Metaphors and Musical Understanding.” Journal of Music Theory 43, no. 1 (Spring 1999): 1-19.

Narmour, Eugene. “On the Relationship of Analytical Theory to Performance and Interpretation,” in Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, Festschrift Series, no. 7, eds. Ruth A. Solie and Eugene Narmour (Stuyvesant, NY: Pendragon Press, 1988), 317-40.

Neuwirth, Markus. “Taktgruppenmetrische Ambiguität in zwei Klaviersonaten Beethovens: Vom Nutzen und Nachteil analytischer Ratschläge für die aufführungspraktische Interpretation.” Tijdschrift voor muziektheorie (Dutch Journal of Music Theory) 14, no. 1 (2009): 51-61. DK

Palmer, Caroline. “Music Performance.” Annual Review of Psychology 48 (1997): 115-38.

Peck, Robert W. “Toward an Interpretation of Xenakis’s Nomos alpha.” Perspectives of New Music 41, no. 1 (Winter 2003): 66-118.

Penel, Amadine and Carolyn Drake. “Sources of Timing Variations in Music Performance: A Psychological Segmentation Model.” Psychological Research 61 (1998): 12–32. MO/T

Perry, Jeffrey. “Cage’s sonatas and interludes for prepared piano: Performance, hearing and analysis.” Music Theory Spectrum 27, no. 1 (spring 2005): 35-66. DK

Pierce, Alexandra. Spanning: Essays on Music Theory, Performance, and Movement. Self-published.

Powers, Harold. “A Canonical Museum of Imaginary Music.” Current Musicology 60-1 (Spring-Fall 1996): 5-25.

Repp, Bruno H. “A Microcosm of Musical Expression: I. Quantitative Analysis of Pianists’ Timing in the Initial Measures of Chopin’s Étude in E Major.” Journal of the Acoustical Society of America 105 (1999): 1972–1988. MO/T

Repp, Bruno H. “Diversity and Commonality in Music Performance: An Analysis of Timing Microstructure in Schumann’s ‘Träumerei.’” Journal of the Acoustical Society of America 92 (1992): 2546–2568. MO/T

Repp, Bruno H. “Patterns of Expressive Timing in Performances of a Beethoven Minuet by 19 Famous Pianists.” Journal of the Acoustical Society of America 88, no. 2 (1990): 622-641.

Rink, John. “The Line of Argument in Chopin’s E minor Prelude.” Early Music 29, no. 3 (August 2001): 435-445.

Rink, John. “Analysis and (or?) Performance,” in Musical Performance: A Guide to Understanding. Cambridge: Cambridge University Press, 2002, 35-58.

Rink, John. “Playing in Time: Rhythm, Metre and Tempo in Brahms’s Fantasien Op. 116,” in The Practice of Performance: Studies in Musical Interpretation (New York: Cambridge University Press, 1995), 254-82.

Rink, John. Review of Musical Structure and Performance, by Wallace Berry. Music Analysis 9, no. 3 (1990): 318-39.

Rothstein, William. “Like falling off a log: Rubato in Chopin’s prelude in A-flat major (op. 28, no. 17).” Music Theory Online 11, no. 1 (Mar. 2005). DK

Rothstein, William. “Analysis and the Act of Performance,” in The Practice of Performance: Studies in Musical Interpretation, ed. John Rink (Cambridge: Cambridge University Press, 1995), 217-40.

Rothstein, William. Phrase Rhythm in Tonal Music. New York: Schirmer,1989.

Rothstein, William. “Heinrich Schenker as an Interpreter of Beethoven’s Piano Sonatas.” 19th-Century Music 8, no. 1 (Summer 1984): 3-28.

Schachter, Carl. “Playing What the Composer Didn’t Write: Analysis and Rhythmic Aspects of Performance,” in Pianist, Scholar, Connoisseur: Essays in Honor of Jacob Lateiner, Festschrift Series, no. 15, eds. Jane Gottlieb and Bruce Brubaker (Stuyvesant, NY: Pendragon Press, 2000), 47-68.

Schachter, Carl. “Chopin’s Prelude in D Major, Op. 28, No. 5: Analysis and Performance.” Journal of Music Theory Pedagogy 8 (1994): 27-45.

Schmalfeldt, Janet. “On the Relation of Analysis to Performance: Beethoven’s Bagatelles Op. 126, Nos. 2 & 5.” Journal of Music Theory 29, no. 1 (Spring 1985): 1-31.

Shove, Patrick and Repp, Bruno H. “Musical Motion and Performance: Theoretical and Emprical Perspectives.” In The Practice of Performance, ed. John Rink (Cambridge: Cambridge University Press, 1995), 55-83.

Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover, NH: Wesleyan University Press, 1998.

Todd, Neil P. “The Dynamics of Dynamics: A Model of Musical Expression.” Journal of the Acoustical Society of America91 (1992): 3540–3550. MO/T

Todd, Neil P. “A Model of Expressive Timing in Tonal Music.” Music Perception 3, no. 1 (Fall 1985): 33–58. MO/T

Toiviainen, Petri, Geoff Luck, and Marc R. Thompson. “Embodied Meter: Hierarchical Eigenmodes in Music-Induced Movement.” Music Perception 28, no. 1 (September 2010): 59–70. MO/E

Wachsmann, Klaus. “The Changeability of Musical Experience.” Ethnomusicology 26, no. 2 (May 1982): 197-216.

Walton, Kendall. “Style and the Products and Processes of Art.” In The Concept of Style, ed. Berel Lang (Ithaca: Cornell University Press, 1979), 72-103.

Windsor, W. Luke, Peter Desain, Amandine Penel, and Michiel Borkent. “A Structurally Guided Method for the Decomposition of Expression in Music Performance.” Journal of the Acoustical Society of America 119, no. 2 (2006): 1182–1193. MO/T

Yung, Bell. “Choreographic and Kinesthetic Elements in Performance on the Chinese Seven-String Zither.” Ethnomusicology 28, no. 3 (September 1984): 505-17.

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