Music Traditions, Cultures, and Contexts

ACKNOWLEDGEMENTS

xiii We would like to thank all who have contributed to making Music traditions , cultures, and contexts a reality, including, first and foremost, the book’s contributors: John Beckwith, Rob Bowman, Virginia Caputo, Beverley Diamond, Charlotte Frisbie, Jocelyne Guilbault, Ellen Koskoff, Pirkko Moisala, Bruno Nettl, Kip Pegley, Regula Burckhardt Qureshi, Neil V. Rosenberg, and Kay Kaufman Shelemay, as well as the group of Bev’s students who so generously and enthusiastically supported this project and contributed their reminiscences about Bev for the book’s website. We are grateful to all of these people for their excellent contributions to the book, and for their patience during the genesis of this volume. We are indebted to those who have read these texts at various stages and have provided valuable feedback, including colleagues, friends, external assessors, and copy editors. We take this opportunity to thank two former students, Erin Bustin and Vincent Spilchuk: Erin transcribed some twelve hours of interviews between the editors and Beverley Diamond that were recorded in St. John’s, and Vincent provided valuable editorial assistance in the final preparation of the book typescript. A special word of thanks to Graham Blair, Memorial University, who created the splendid cover design for the book. Thanks also to Brian Henderson, Leslie Macredie, Lisa Quinn, and Rob Kohlmeier at Wilfrid Laurier University Press: Brian for his help and encouragement from the very beginning of the project early in 2006, and Leslie, Lisa, and Rob for shepherding it through the final stages of production. Our sincere thanks go to Beverley Diamond and Clifford Crawley for their hospitality and generosity during our research visit to St. John’s in May 2007. We also take this opportunity to thank Bev for her assistance in providing us with ideas and information through all stages of the preparation of this book, and for her knowledge, inspiration, and much valued friendship. Working on this book, which is a tribute to her exemplary scholarship and collegiality, has been an honour and a real pleasure for both of us. Acknowledgements For financial assistance in the production of this book, we would like to thank the Faculty of Arts and Science at Queen’s University and the Institute for Canadian Music at the University of Toronto. Finally, we would like to thank our families and partners, who have encouraged and sustained us throughout this project. To them, as always, we owe everything. R.E. and G.E.S. xiv Acknowledgements ...