This is really more of an overview rather than a review. Since the description of a book is limited to only 1000 characters, I had to resort to this venue for getting out the information about the contents of the book. As mentioned above, "Essays on the Intersection of Music and Architecture" is a collection of nine texts written by international scholars. Most of the essays were originally presented at the interdisciplinary conference Architecture | Music | Acoustics that took place in Toronto, Canada, in June 2006 at Ryerson University. Colin Ripley was instrumental in organizing the event. The texts in the book range from historiographical and theoretical explorations of the relations between music and architecture via translations of architectural spaces into music to analytical case studies of architectural spaces for musical performance. Engineer/architect Sven Sterken (Belgium) explores music as an art of space through the work of the architect, engineer, and composer Iannis Xenakis. Architect and designer Kourosh Mavash (Canada) investigates Murray Schafer’s Soundscape and its potential for a new pedagogy of architecture. Musician and landscape architect Galia Roe (Israel) examines existing notation systems and then develops a new scoring method for architectural analysis and design as she compares linear sequences in music and space. The ethnomusicologist, composer, and performer Kim Chow-Morris (Canada) chronicles the translation of a Toronto city street into a musical composition that was premiered at the Architecture | Music | Acoustics conference. Architect and professor Jim Lutz (USA) traces the transformations of architecture as instrument—and its inverse, instrument as architecture—through a series of projects that straddle the line between both fields of study. Architect and musician Yu Zhang (China) discovers musical design in the 18th-century architecture of the Altar of Heaven and the Zither Rhythm Studio in Beijing, China. Composer John Sands (USA) considers the societal function of music and architecture through an analysis of Markus Pernthaler’s Helmut-List-Halle in Graz, Austria. Architect and musician Garth Ancher (Australia) translates the intangible qualities of Miles Davis’ jazz-rock fusion into architecture through his design for a Contemporary School of Music in Launceston, Tasmania. Designer/architecture professor Mikesch Muecke and musicologist/music professor Miriam Zach (USA) trace in their essay the intersection of architecture and music throughout history in the work of architects and musicians, discovering along the way the potential of an interdisciplinary practice to transform both disciplines.