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ix Acknowledgments The heart of this work has been the patient guidance of the many teachers who sat with me over the years, beginning with my parents and brother. In writing a book that comes to focus on the tacit transmission of musical knowledge from teacher to student, I was reminded again and again that everything important here was given to me face to face, sina ba sina. First and foremost, I am deeply grateful to the Hindustani vocalists who have so generously guided me over the last fifteen years, including Mohan Darekar, Harriotte Hurie, Arun Kashalkar, Shafqat Ali Khan, Chandrashekar Mahajan, L. K. Pandit, Rita Sahai, Veena Sahasrabuddhe, and Warren Senders. Most of all, I am grateful to Vikas Kashalkar, who accepted me as a student twelve years ago, when I could hardly sing in tune, apparently out of a simple sense of duty to pass on what he knew. Since then he has sat patiently with me for literally hundreds of hours. His good-humored curiosity about my many mistakes—and his willingness to question his own ideas—provided a model of intellectual discipline that I have aspired to in this book. His stubborn insistence that I commit to a single musical ethos not only paid off musically; it also led me to understand better the dynamics of musical transmission in general. Kashalkarji’s warm and inclusive extended community (both his family and his gurukul) have provided crucial musical and emotional support in Pune over the past twelve years. In particular , I thank Mukul Kulkarni, Chintan Upadhyay, Makarand Kharwandikar , and Pavan Naik for their hospitality, open-handed musical guidance, and friendship. As I was preparing this book for publication, the world of Hindustani music suffered the loss of a master whose voice appears in these pages: Ustad Rahim Fahim-ud-din Khan Dagar. His depth of knowledge and his seamless integration of lakshan and prayog, of theory and practice, was and is a great inspiration. May his spirit live on in his disciples—among whom I am particularly grateful to Irfan Zuberi for his kindness in introducing us, for videorecording the interview himself, and for his friendship and collegiality. Acknowledgments / x I am grateful to the many scholars who have submitted my work to dialectical critique. Bonnie Wade challenged me to think through points I was inclined to conveniently ignore and helped me direct my writing to a broad intellectual community. Ben Brinner saw the potential of this project even when it was shadowy and purely speculative and has challenged me again and again to refine my questions through careful analysis. Eve Sweetser has consistently made me feel welcome in the world of gesture studies and contributed greatly to my analyses through her willingness to analyze speech performances as music. David Wessel started me on my formal research path, providing both encouragement and logistical support. Jocelyne Guilbault worked hard to help me make my theoretical concerns clear to others. Richard Taruskin (whose formidable teaching prowess is somehow less well known than his scholarship) challenged me to be ever more straightforward about the ethical dimensions of my work. Richard Crocker taught me a great deal about many dimensions of melody through the study of Gregorian neume dialects. Katharine Young and Harry Berger, two of my favorite writers, spent a great deal of focused time and energy helping me refine my phenomenological excursions. Parker Smathers at Wesleyan University Press trained his scalpel on the clunkiest parts of this writing, always reminding me that, in the end, someone will be reading this. Tomie Hahn contributed many pages of valuable suggestions about how to render the intricacies of movement readable in prose. I thank my wonderful colleagues at the University of Minnesota: Diyah Larasati for her help in reading bodies; Bill Beeman for his insights into the voice; Gabriela Currie, David Grayson, Sumanth Gopinath, Kelley Harness, Peter Mercer-Taylor, and Karen Painter for their constant support and collegiality; Scott Currie, Erkki Huovinen, Alex Lubet, and Guerino Mazzola for their suggestions about how to think about improvisation; David Myers for his institutional advocacy; and Lars Christensen for his brilliant, sustained engagement with the theoretical puzzles in this book. The Berkeley Gesture Studies Group enthusiastically welcomed my first theoretical sketches and raw video footage. Shweta Narayan and Nathaniel Smith in particular helped me to be clear about the degree to which song gesture is metaphoric. Adam Kendon, in addition to providing a great deal of the theoretical scaffolding for this project through...

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