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Table of Contents
Foreword | Michael Benedikt
Borromini and Benevoli: Architectural and Musical Designs in a Seventeenth-Century Roman Church | Julia Smyth-Pinney and David Smyth
Warps, Ribbons, Crumpled Surfaces, and Superimposed Shapes: Surfing the Contours of Miles Davis’s “Lost Quintet” | Michael E. Veal
Louis Sullivan, J.S. Dwight, and Wagnerian Aesthetics in the Chicago Auditorium Building | Stephen Thursby
Curious Mixtures | David P. Brown
Space and Sound: Harmonies of Modernism and Music in Richard Neutra’s Clark House | Michael J. Ostwald
(De)Compositions: Intersections of Architecture and Music in the Abstract Films of Hans Richter and Viking Eggeling | Michael Chapman
Visualizing Beethoven’s An die ferne Geliebte Digitally | Hedy Law and Ira Greenberg
How Not To Be “Theatrical”: Emile-Jaques Dalcroze, Adolphe Appia, Le Corbusier | Joseph Clarke
Spatial Notation in Experimental Music: The Case of Stuart Marshall | Peter Tschirhart
Cage, Chance, and Architecture: Distancing the Formalizing Agent | Steve Harfield
Creative Uncertainty | Yiu-Bun Chan
Composing Space: The Terminology of Space between the Venetian School and New Music | Yvonne Graefe
Music, Landscape Architecture, and the Stuff of Landscapes | Brenda J. Brown
The London Flat and Manhattan Studio of Jimi Hendrix | Marie-Paule Macdonald
A Dodecahedral House of Blues: From Buckminster Fuller’s Jitterbug Transformation to an Elusive, Bilaterally Symmetrical Harmonic Architecture | David A. Becker
Rethinking Xenakis and the Role of Information in the Immediate Production of Architectural Affects | Andrew P. Lucia and Jenny E. Sabin
Along Parallel Lines: Architectural and Musical Notation | Jim Lutz
Architecture in Motion: A Model for Music Composition | Jorge Variego
Bebop Performances | Bennett Neiman
Music is more than sound—more, even, than interesting sound. Architecture is more than building—more, even, than interesting building. This was our conviction. And this was the quest: to explore what "more" was today by imagining that it was the same, or at least comparable, for the intuitively-related arts of music and architecture.
