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date: 18 February 2020

(p. xiii) Acknowledgements

(p. xiii) Acknowledgements

From inception to publication this project has spanned a full four years. As a companion to our life journeys, it has been a privilege to have been in regular contact with the fifty-six authors that make up the stellar cast list of The Oxford Handbook in Community Music. As you might imagine, a project of this size and duration has had many people working hard in the background ensuring that it reaches the ambition of our initial proposal. With this in mind, we would like to thank our Editorial Assistant Emma Di Marco for the professionalism she showed in organizing and administrating the correspondence between the authors and the editors. We also thank Connie Allen for her initial copy-editing and whipping the chapters into a cohesive shape. Peer review is always crucial to the quality of these volumes so we would like to thank our board of reviewers for their time and effort in critically engaging with the work, and providing such insightful feedback. Of course, Norman Hirschy from OUP deserves a big thank you for his tremendous support, belief, guidance, and admirable positivity. Our institutions, Queensland Conservatorium Griffith University and York St John University, have also been instrumental in encouraging us to take on this ambitious project. Finally, to the community of community musicians—this includes the authors but also the wider networks we inhabit such as the International Society of Music Education, the Commission for Community Music Activity, the Asia Pacific Community Music Network, Sound Sense, our students, and all those formal, informal, and non-formal groups of musicians, educators, and researchers we move in and between. Last but not least we would like to thank Eugene Skeef for providing us with such a vibrant front cover image. Choosing one picture that embodies such a diverse field is not easy task, but to us this picture of a creative music workshop with the National Youth Orchestra (UK) paints a thousand words. The joy, vibrancy, music, and human connection this picture conveys encapsulates the very spirit and values so eloquently described throughout the pages of this book. We would also like to thank Gillian Howell, Pamela Burnard, Laura Hassler, Peter Moser, Simone Siwek, and Lee Willingham for providing us with inspiring images of community music practice from around the world to open each section of the handbook. In many ways, this tome feels like a Herculean effort as we have done our best to do this expanding and dynamic field justice. It has been a pleasure (mostly!) and a deeply humbling experience to bring together so many tremendously diverse stories and insights, and we are delighted to be sharing it with now as our readers. (p. xiv)