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ACKNOWLEDGMENTS The following pages were made possible through the personal contributions of many individuals , spread out over three continents, too numerous to list. We would like to recognize the efforts of NIU Steelband alumni and supporters Michael Bento, Shannon Dudley, Scott McConnell, Kuo-Huang Han, Satanand Sharma, Paul Ross, James Walker, Elizabeth DeLamater, Mike Schwebke, Mia Gormandy, Adam Grise, Harold Headley, Lester Trilla, Kenneth Joseph, Seion Gomez, Jan Bach, Charissa Granger, and Leonard Moses for their work, perspectives, and consultation. The graciousness and patience demonstrated by those men and women throughout this process are a testament to their continued dedication and love of the artistry of steelpan and the NIU steelband program. Furthermore, we are particularly thankful for the contributions of Sarah Barnes-Tsai and Yuko Asada for their help in tracking down documents and photos and for their insights. A project such as this could never flourish without the support of Northern Illinois University, and to this end the support of Rich Holly, Robert Chappell, Barry Mannette, and Khan Cordice was invaluable to our book’s completion and success. We would like to further acknowledge all the players,past and present,who contributed through the decades toward the international growth and development of the NIU Steelband through their tenure with the band and their dedication to the program. Because of their talent and dedication , the reputation and prestige of the NIU Steelband holds historical and educational value at the tertiary level, and the band continues to be a flagship ensemble of international acclaim as ambassadors in ethnic music and cultural studies in academia. In Trinidad, we would like to thank the University of the West Indies—St. Augustine, Pan Trinbago, and the American Embassy for their continued support of the NIU steelband program. We are also indebted to several colleagues, including Brandon Haskett, James Campbell, and Chris Tanner, for their helpful suggestions, comments, and editorial A cknowledgments xii guidance throughout the research and writing of this book. Their expert knowledge of steelband history and the American steelband scene respectively made this a better book in all regards. Finally, for more than forty years the NIU Steelband has been the vision and passion of three men who have greatly advanced the art form and culture of steelband. As such, the graciousness, openness, and unwavering support of G. Allan O’Connor, Clifford Alexis, and Liam Teague made this book possible, and we authors are honored to be able to share their story. Andrew Martin, Ray Funk, Jeannine Remy STEELPAN IN EDUCATION ...


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