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xv I wish to express deepest gratitude to the several colleagues and friends who read various chapters and offered insights, corrections, and encouragement during the long gestation of this project: Hisham Bizri, James Currie, Daniel Goldmark, Helen Greenwald, Berthold Hoeckner, Lawrence Kramer, Charles Kronengold, Sherry Lee, Alice Lovejoy, David M. Lubin, Susan McClary, Jeannie Poole, and Gary Thomas. Peter Franklin and Mitchell Morris patiently read all of it and provided me with a great deal of invariably thoughtful, critical engagement. Joey Crane handled putting all of the musical examples in order; to say the very least, I very much appreciate his attention to detail, timeliness, and skill. As always, Mary Francis, my long-time editor at the University of California Press, provided invaluable advice and moral support throughout the six years of the book’s gestation; to her I owe a special note of gratitude. Anne Canright, who copy-edited the manuscript, was attentive to the smallest detail and, in that regard, saved me from more than a few embarrassing lapses. Bradley Depew and Rose Vekony saw to all the details of putting the book into print. The staff support at the University of Minnesota Libraries was, as ever, professional, tireless, and cheerful, and no matter the numbers of requests for closed-stacks materials. I’m deeply grateful kind assistance provided by John Pennino, Archivist for the Metropolitan Opera, and the several staff assistants in the New York Public Library’s Billy Rose Theatre Division at Lincoln Center. ACKNOWLEDGMENTS xvi • A C K N O W L E D G M E N T S Chapters 1, 2, and 4 are based on the following previously published essays; they have been revised and expanded for inclusion in this volume: “The Civilizing Process: Music and the Aesthetics of Time-Space Relations in The Girl of the Golden West.” In Musical Meaning and Human Values, ed. Keith Chapin and Lawrence Kramer, 117–50, 203–17. New York: Fordham University Press, 2009. “Opera, Aesthetic Violence, and the Imposition of Modernity: Fitzcarraldo.” In Beyond the Soundtrack: Representing Music in Cinema, ed. Daniel Goldmark, Lawrence Kramer, and Richard Leppert, 99–119. Berkeley: University of California Press, 2007. “Two Notes, One Ending (Three Operas) at the Boundary of the Great Divide; or, Aesthetic Meanderings of the Sonic Psyche.” Opera Quarterly 31, nos. 1–2 (2015): 71–99. ...


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