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xi Acknowledgments Like every work that aspires to be scientific, this book is not the result of a solitary effort; rather, it is the product of a multifaceted dialogue. My thanks therefore go first to Mary Francis for having encouraged me from the inception of this dialogue, for her constant and enthusiastic support, and for guiding me through the treacherous traps that accompany all publications. Other key participants in the dialogue were Barbara Moroncini, who gave this work its first edit; Julie Brand, who provided a thorough final edit; and Rose Vekony, the project editor. Their help was crucial in making this book speak to you as it does. The dialogue started while I was in graduate school at the University of California in Davis, and this book follows on the completion in 2004 of my PhD dissertation, “Luigi Russolo and The Occult.” I should like to thank my dissertation committee, David Nutter, Douglas Kahn, D. Kern Holoman, Pablo Ortiz, and Margherita Heyer-Caput, for their trust, generous exchange of ideas, and advice. I wrote the dissertation in Italian. It was translated by Tamsin Nutter, and her translation was revised by Beth Levy, Marit MacArthur , and Ramón Sender Barayón: I thank them all for their time and help. Justin Urcis, Mark Gallay, Nathan Kroms Davis, and Beverly Wilcox read this manuscript and gave me their feedback. Ellen Fullman, Gregory Moore, and Theresa Wong discussed specific sections of it with me. I am grateful to them all. Thanks go to my family—my father and mother, and my sister and brother and their families—without whom I would not have been able to accomplish xii . Acknowledgments this. Thanks also to Troy Boyd for his unwavering support throughout the entire process and beyond. This book is dedicated to him. A version of chapter 9 appeared twice as an article: “L’arte dei romori: Leonardine Devotion in Luigi Russolo’s Oeuvre,” Leonardo 41, no. 1 (February 2008); and “L’arte dei romori: Del culto leonardesco nell’opera di Luigi Russolo,” in Musica e arti figurative: Rinascimento e novecento, ed. Gerhard Wolf and Mario Ruffini (Venice: Marsilio, 2008). Both articles were based on chapter 11 of my dissertation, and it is on this version that I have based the material presented here. I was able to improve the section on the mechanisms of the intonarumori with the help of a commission I received from RoseLee Goldberg of the New York–based Biennale of the Arts Performa to direct the first reconstruction project of Russolo’s earliest intonarumori orchestra. Together with Esa Nickle, I curated a concert program that featured music specifically commissioned for this orchestra, which the New York Times hailed as one of the best events in the arts in 2009, and which subsequently toured internationally. My thanks go also to Mary Ellen Poole and John Spitzer at the San Francisco Conservatory of Music and to Tom Welsh from the Cleveland Museum of Art for their indirect and direct support. Finally, thanks to Margaret Fisher who upon reading my “Luigi Russolo and the Occult” first convinced me to revise and submit the work for publication. ...


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