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date: 30 November 2020

(p. xv) Acknowledgments

(p. xv) Acknowledgments

These volumes were over a half-decade in the making, during which time we accrued countless debts. In many ways, this journey began at the University of California Humanities Research Institute, and we’d like to thank UCHRI director David Theo Goldberg, who in 2002 sponsored a scholarly Residential Research Group whose members became the core of this Handbook. At Oxford University Press, we would like to recognize the expansive vision of our editor, Suzanne Ryan, who originally suggested the handbook format as the most effective way to bring together a wide range of perspectives that can sometimes elude more modest edited volume formats. Oxford also provided the finest cat-wrangling support we could ask for from Molly Davis, Lisbeth Redfield, Amy Chang, and Andrew Maillet. We want to offer a special thank you to Swaathi Venugopal, Preethi Sundar, and Kathrin Immanuel at Newgen KnowledgeWorks for keeping us on track. Several PhD students at Cornell University provided crucial proofreading and copyediting services; our gratitude goes to Samuel Dwinell, Dietmar Friesenegger, Ji Young Kim, Mat Langlois, Erica Levenson, Becky Lu, and Mackenzie Pierce. We received invaluable support from the Edwin H. Case Chair in American Music at Columbia University.

Our greatest thanks go to our authors, who matched their excitement for this project with commensurate patience and good humor. We also wish to thank the many colleagues and friends who shared their thoughts and opinions on critical improvisation studies over the years, and who, like the contributors, humored us by maintaining straight faces when we repeatedly issued assurances of imminent publication. (p. xvi)