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Acknowledgments The myth of the single-authored book lives on in spite of the fact we are all in on the secret. The book in your hands would not be possible without the cooperation and contribution of many different individuals, many of whom I am sure I will forget as I make my way through the genealogy of this text. The project emerged in the realm of music performance and friendships developed over the last seventeen years. I give my heartfelt thanks to Rolando Encinas, the director of Música de Maestros, who over the years has tolerated my itinerant comings and goings from his Bolivian orchestra and has always welcomed me with rehearsals, recording sessions , new pieces to learn, and other compelling reasons to practice my violin. The names of the members of Música de Maestros are too numerous to list here, but they all deserve recognition for their roles in keeping me connected to Bolivian music. These shared musical moments always pull me away from the textual realms that usually dominate the day-today activities of an academic. They remind me of the importance of doing music, even if I don’t make a living at it. I am grateful to those musicians with whom I toured Japan and shared an intense three months on the road: Rolando Encinas, Yuliano Encinas, Victor Hugo Gironda, Claudia Gozalves, Koji Hishimoto, and Edwing Pantoja. Many musicians in Japan and Bolivia shared with me their musical histories . Special thanks go to Koji Hishimoto and Takaatsu Kinoshita for helping me make contacts in Japan and for sharing the stories of their extensive work in Bolivian music. Ernesto Cavour generously allowed me to interview him three times over a period of several years. Additionally , conversations and interviews with the following people were key to the unpacking of this project: Virginia Benavides, Alejandro Cámara, Juan Carlos Cordero, Donato Espinoza, Daiji Fukuda, Luis Guillén, Jiro Hamada, Hitoshi Hashimoto, Kenichi Inazawa, Suyoku Ito, Ernesto Kawamoto , Zenobia Mamani, Shizue Shimada, Kaiya Yoshihiro, and members of the groups Los Borrachos and Los Vientos. On my annual visits to Bolivia, many people have welcomed me with their generous hospitality and with their intellectual exchanges about x Acknowledgments Bolivian politics and/or music: Rossana Barragán, Julio Calla, Pamela Calla, Martha Cajías, Juan Carlos Cordero, Rolando Encinas, Elizabeth Jiménez, Yolanda Mazuelos, Iris Mendizábal, Ramiro Molina, Alvaro Montenegro, Julieta Paredes, and Cecilia Rocabado. Members of a writers group in which I participate (Julie Hemment, Beth Notar, Joshua Roth, and Barbara Yngvesson) saw different chapters of this book at different stages of its writing. Key ideas, like the focus on “intimate distance” emerged from these readings and conversations, all conducted around delicious home-cooked meals. Participation in this group has sustained my writing process in a community of reciprocal exchanges , commentary, and constructive critique. Hampshire College, an innovative liberal arts institution, has provided me with a professional context in which to develop fully this ethnographic project. Hampshire’s support of my research—over several years of summer and extra faculty development grants—has made possible annual visits to Bolivia. Under Hampshire’s sabbatical policy I was able to conduct the original fieldwork “on the road” as a Bolivian musician in Japan, and a Whiting Foundation Grant made possible part of my fieldwork in both Bolivia and Japan. The intellectual curiosity of Hampshire students and the incredible engagement of my colleagues have inspired me, showing me exactly what it means to combine scholarship and teaching.Within this context, I presented parts of this book to and subsequently benefited from exchanges with Margaret Cerullo, Jennifer Hamilton, Frank Holmquist , Kay Johnson, and Barbara Yngvesson. In the Five Colleges I have also presented this work at the University of Massachusetts, Amherst, receiving crucial comments from Sonia Alvarez, Gloria Bernabe-Ramos, and Millie Thayer.To other friends and colleagues in the Five Colleges and elsewhere I am thankful for dialogues that motivate continued intellectual engagements: Steffan Igor Ayora Diaz, Carollee Bengelsdorf, Maggie Bolton, John Borneman, Ilana Gershon, Karen Graubart, Billie Jean Isbell, Amy Jordan, Lili Kim, Liz Miller, Valentina Napolitano, Bethany Ogdon, Falguni Sheth, Jutta Sperling, Gabriela Vargas Cetina, and Helena Wulff. In other venues I have had an opportunity to present initial ideas related to this work.To Sarah Radcliffe I owe special thanks for encouraging me to submit a chapter for her edited volume, Culture and Development in a Globalizing World. Conferences about Bolivia organized at Northwestern University and about...

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