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Acknowledgments Scholarly acknowledgments often begin with a list of the institutions that provided time or financial assistance for the project. I’ll get to them, but I must start by thanking Libby Larsen. She has been a generous and courageous subject, enduring years of questions, requests for information, emails, telephone conversations, and personal interviews. She has shared photographs and sound files, supplied names of possible corroborators, and introduced me to family and friends. She enlisted her assistants, Grace Edgar, Toni Lindgren, and Jason Senchina, in the project and encouraged them to help me. I couldn’t have done this project without them. Meeting Larsen’s parents and observing their pride and puzzlement over why anyone would want to write a biography of their daughter reminded me of the valuable balancing function that all families provide. Larsen invited me to listen to and watch collaborations in the act as well as join in an evening book group. Thanks to these experiences, I have an enlarged understanding of the ecology of life. Although I devoted a chapter of a previous book to Larsen and a small group of her nature-inspired works, I would not have considered assuming the daunting task of writing her biography without a suggestion from Laurie Matheson, director of the University of Illinois Press. It was the project I needed at that particular moment, and it has prepared me to take on others in ways I couldn’t have imagined. I appreciate the eagle eyes of my copyeditor, Barbara Wojhoski, and my indexer, Kathy Bennett. Any errors or oversights that remain are surely my own. I’m grateful to Florida State University and Dean Patricia Flowers of the College of Music, who supported a sabbatical application and research-focused semester that allowed me to complete my book. I am fortunate that Pat wants her faculty to do what they do best and provides opportunities for them to do it. The library staff at the Allen Music Library is incomparable when it comes to serving the university’s faculty. I regularly benefit from the warm and professional assistance of Laura Gayle Green, Sarah Hess Cohen, Sara Nodine, and Keith Knop. My colleagues in the Musicology Area, Michael Bakan, Charles Brewer, Sarah Eyerly, Frank Gunderson, Margaret Jackson, and Douglass Seaton, have cheered me on for years. Colleagues outside my xviii Acknowledgments immediate area have also provided encouragement: Alice Ann Darrow, Larry Gerber, Jim Mathes, Marcia Porter, and Heidi Louise Williams never fail to inquire about my work and offer a perspective unavailable elsewhere. My friend, the artist Irene Trakis, provided stimulating conversations about the intersections of the visual and the sounding arts. Without question, I see more and better because of her. I have grown because of the opportunity to present my work at national conferences of the Society for American Music and the American Musicological Society, the latter of which has also supported this project with a book subvention award. Numerous speaking engagements at universities across the nation and in Europe have introduced me to new people and ideas that have helped nuance my thinking. I’m especially grateful for the many opportunities to work with Aaron Allen, Mark Pedelty, and Jeff Todd Titon in a series of ecomusicology-related presentations where I’ve discussed aspects of my work on Libby Larsen. Coediting the Music, Nature, Place book series with Sabine Feisst at Indiana University Press puts me in regular contact with a superb scholar whose comments on my own work have only strengthened it. My graduate students regularly feed me with their curiosity and energy; they keep me growing. I’m grateful to students in my biography seminars— Sarah Gilbert, Sean Linfors, Lindsey Macchiarella, Haley Nutt, Natalia Perez, Joanna Pepple, Nicole Robinson, Rebekah Taylor, and Dana Terres—for their insights into the biographical endeavor. Interactions with my doctoral students Matt DelCiampo, Amy Dunning, Ashley Geer Hedrick, Megan MacDonald , and Kate Sutton have expanded my horizons in unimaginable ways. Among my students, McKenna Milici has played an especially large role in this project: she has hunted down details, checked facts, read drafts, discussed nuances of the manuscript, copyedited, organized thousands of pages of materials so that whatever I needed was within easy reach, and shared my enthusiasm for all things Larsen. It is no exaggeration to say that without McKenna, this project would not look the way it does. A former student, Matt Woulard, is now a professional music engraver. I am honored to have his elegant musical examples...

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