Chapters in this book

1. Frontmatter 1
2. Contents 5
3. Preface 11
4. Introduction: Music for/into/as Motion – and Vice Versa 13
5. Case Studies from the Historical Avantgarde to Contemporary Practices
6. Music, Dance, and Agency in Early French Comic Film 45
7. Forced Freedom 61
8. “The Creation of New Forms” 79
9. Petrushka’s Survival 97
10. “His dances were composed” 113
11. Dramatic Statement and Theatrical Expression 131
12. Related Sounds 151
13. Musicians as Performers 179
14. Moving to the Beat of Its Own Drum 195
15. Composing and Choreographing the Audience in Contemporary Music Theater 217
16. Tarantella Helvetica 235
17. Dissolving and Emphasizing the Physical in the Digital Age 249
18. The Danced Sound Sculpture 271
19. Openings in A Love Supreme 287
20. Artistic Research with Sound and Performative Movement
21. Mickey Mouse is Innocent 327
22. Contact Improvisation 341
23. The Dialogue of Sound and Movement in Improvisation 361
24. CORPUS Versus BODY 375
25. Missing, Not Knowing, Taking Care 387
26. SoundWave Surfing 407
27. Six Memos for a Pianist and a Self-Playing Piano 419
28. Mutated Manipulations 439
29. Embodying Expression in Classical Instrumental Performance Practice 459
30. Music/Sound and Dance/Motion: Relations between Theory and Practice
31. Choreomusical Research as an Artistic Translation Process 485
32. Hearing the Dance and Watching the Music 523
33. Dances with Tables 531
34. Listening through Seeing 559
35. Rhythm and Meter in Dance as Bergsonian durée 573
36. Rhythm and Relation 593
37. Conducting Experiments 607
38. Bundling Meaningfulness in a Felt-Bodily Manner 621
39. Musical Dimensions of Motion-Based Interindividual Behaviors 637
40. Intertwined 661
41. Contributors 681
42. About mdwPress 693