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xiii Acknowledgments The problem with acknowledgments is that the more comprehensive one tries to be, the worse the unintended slight to those who still inevitably get left out. Without, therefore, making any attempt at a comprehensive list of names, I must first thank ch’anggŭk artists in general, who have been, without exception, cooperative and helpful with my research. I have received particularly sustained and unstinting assistance from the National Changgeuk Company of Korea and its leaders and artistic directors since 1995, Kang Hanyŏng, Chŏn Hwang, Ahn Sook-sun, Ch’oe Chongmin, and Yu Yŏngdae. Other ch’anggŭk artists who have especially gone out of their way to be helpful include Kim Ilgu, Kim Sumi, Yi Yŏngt’ae, Han Sangil, and, in all-female yŏsŏng kukkŭk, Hong Sŏngdŏk. My thanks go to all those named in citations of interviews and equally to the many others who gave interviews that were not eventually selected for citation; every one contributed to my understanding of ch’anggŭk in some way. I will always be grateful to Hae-Kyung Um for taking me to see my first ch’anggŭk performance in 1988 and for many stimulating coversations ever since. Lee Bo-hyung was overwhelmingly generous with his time, expertise , and research materials, welcoming me regularly into his home for study and discussion that took me far toward my goals. Hwang Byungki provided insights and inspiration in weekly kayagŭm zither lessons and conversations on Korean music more generally. David Kosofsky and Shin Songmin, meanwhile , gave me a happy home in Seoul in an environment combining warm friendship with intellectual stimulation. This book has grown out (in more senses than one, I hope) of my 1998 doctoral dissertation at the University of Washington and continues to reflect the valuable input of my advisor Hiromi Lorraine Sakata and committee members Sarah Bryant-Bertail, Ter Ellingson, James Palais, Clark Sorensen, and Christopher Waterman. My research and writing on ch’anggŭk has been supported financially at various times by a Dissertation Research Grant from the Joint Committee on Korean Studies of the Social Science Research Council and the American Council of Learned Societies, a Dissertation Writing Fellowship from the University of Washington, a First Year Assistant Professor xiv Acknowledgments Award from The Florida State University, an Arts Divisional Research Funding award from the University of Sheffield, a Matched Research Leave Award from the Arts and Humanities Research Council (UK), an International Conference Grant from the British Academy, and a Publication Subsidy from the Korea University Series in Korean Studies. I am grateful to the University of Sheffield for granting two periods of sabbatical research in 2005 and 2008, and to my colleagues in the Music Department for helping to cover my usual teaching and administrative responsibilities during those periods. Jonathan Stock, in particular, took a great weight on his shoulders to enable me to take a sabbatical at a time when Sheffield was hosting the biannual conference of the International Council for Traditional Music. Pat Crosby and Susan Stone have been patient and supportive editors, and it has been a real pleasure to renew my connection with the University of Hawai‘i, where I first began my studies of Korean music and culture with Byong Won Lee in 1985. Two anonymous readers have provided invaluable constructive criticism that has made this a better book, though naturally its remaining shortcomings are my own responsibility. My parents Peter and Joyce Killick have selflessly stood behind me in a career path that took me far from home for long periods, and after many years overseas I am glad it eventually brought me back where they can be with their grandchildren more often. My wife Sukyeon has nurtured this project from its inception, providing both practical and emotional support beyond anything I can describe. Our children Amy (Ami), Walden (Minu), and Dawn (Tanmi) have been a constant delight and a real help when I needed light relief. Although they don’t yet see the point of this book (I had to tell them it was about “Korean pantomimes”), I hope they will one day come to understand that in a number of ways it was written for them. ...

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