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date: 07 July 2020

(p. ix) Acknowledgments

(p. ix) Acknowledgments

Suzel’s Acknowledgments and Thanks

A volume of this size can only be completed with the assistance and support of many people, far too many to be named individually. First and foremost I thank Jonathan Dueck for all the time and dedication he put into getting this collection from an idea to an actual material item; without his unending enthusiasm, positivity, and understanding, it is difficult to see how this book could have ever become reality. Alongside all I gained from our joint discussions, his cordial and human way of dealing with everyone involved in the project was certainly one of the greatest lessons over the years. Thanks also to all the contributors for joining us in this endeavor, for their prompt responses, and for their patience throughout the production process. The project also received the support of a number of institutions, most notably Queen’s University Belfast; I also thank The Tinker Fellowship Fund, The University of Chicago, The Sainsbury Centre for Visual Arts at Norwich University, Ripon College Cuddesdon, and Georgetown University, which provided opportunities for the discussion of themes related to this volume. I have also discussed issues related to the ethnomusicology of Christianity with a number of colleagues, and in various guises these conversations have left traces in the volume; in particular I thank Fiona Magowan, Jennifer Sinnamon, Glaura Lucas, Elizabeth Travassos, Katherine Brucher, Ioannis Tsioulakis, Evanthia Patsiaoura, and also my father, the late church historian Duncan Alexander Reily, and my sisters Lucia Reily and Celia Reily Rocha. I also wish to thank the OUP team involved in the volume over the years, particularly Suzanne Ryan, Lisbeth Redfield, and Janish Ashwin Paul; their support has ensured this volume made it to publication. The unfaltering love and understanding of my husband, Toninho, has been crucial to keeping my feet on the ground and helping me to never forget what really matters.

Like Jonathan, I too hope you find this book useful and engaging.

(p. x) Jonathan’s Acknowledgments and Thanks

This (large!) volume would never have happened without the collaboration of so many people.

Thanks to my co-editor Suzel and to all our contributors, who worked so long and hard to realize a space to think in anthropological ways about musical practice in world Christianities. Your long work, patience, and the many insights you shared with me in your writing and in conversation both shaped my thinking and kept me going.

Second, thanks to the communities that have been my longtime partners in researching and thinking about music and Christianity, particularly the Edmonton Mennonite community, the Atlanta Sacred Harp singers and Harrisonburg-area Harmonica Sacra singers, and the Lutheran Brethren community and Mennonite Central Committee in Chad.

Third, thanks to my ethnomusicology, musicology, anthropology, and religion colleagues who have offered their time and thought in many conversations about and relevant to this volume, especially Jeffers Engelhardt, Judah Cohen, Byron Dueck, Tim Cooley, Martin Daughtry, Natasha Zelensky, Fiona Magowan, Doreen Klassen, Rob Provine, Barbara Haggh-Huglo, Anna Nekola, Monique Ingalls, Seth Dowland, Pam Reaves, Ami Shah, and Fred Klaits.

Thanks to my undergraduate seminar students at Duke (on music, religion, and conflict in Africa), and my graduate students in many seminars at Alberta and Maryland, whose conversations and research helped shape my thinking from the earliest stages of this project ‘til now. Particularly valuable were the contributions of David Font-Navarrete (now one of my colleagues in ethnomusicology) and Jeremy Foutz. Thanks, too, to the community of scholars and practitioners gathered at Conrad Grebel College for Sound in the Land meetings by the redoubtable Carol Ann Weaver.

Thanks to my teachers Regula Qureshi, Michael Frishkopf, Walter Sawatzky, Harry Huebner, Waldemar Janzen, Dietrich Bartel, and David Schroeder, who foundationally shaped understandings of music and of theology I brought to this project.

Thanks to the Thompson Writing Program and Duke University, and to the University Writing Program and the University Facilitating Fund and Columbian College Facilitating Fund of The George Washington University, for providing funding and time to present and research internationally for this trip, including several trips to Canada, to England (and Ripon College Cuddesdon!), and to Northern Ireland to present and consult with other researchers on material related to this volume.

Thanks to Suzanne Ryan of OUP for believing in and significantly expanding this project.

Most of all thanks to my family: to Allan and Laura Sue Dueck, and Mamie and Clair Mellinger, who helped out with so many things when I was away. And to my wife Celia, who shared many insights with me about the project, and who along with my kids, Benjamin and Anna, kept everything ticking and full of love when I traveled or worked late.

I hope you all like the book!