Animal Musicalities. Rachel Mundy

       ACKNOWLEDGMENTS

      I have benefitted greatly from the help of many generous and thoughtful people while writing this book. Many mentors, colleagues, friends, and generous strangers have encouraged me to think about human and nonhuman animals during the time between my dissertation and the book you are reading now. I am particularly grateful for Suzanne Cusick’s mentorship, guidance, and inspiration concerning my questions about the relationships we build with other “others.” Jason Stanyek’s encouragement and fabulous reading recommendations gave me the confidence to get started, and to keep on writing about animals. Michael Beckerman, Elizabeth Hoffman, and Stanley Boorman provided thoughtful feedback and much-needed cheerleading during my dissertation and beyond it. Judy Tsou, Una Chaudhuri, Ana Maria Ochoa, Martin Daughtry, and Judah Cohen were generous with their time, teaching, and conversation, and helped me work through important ideas about animals, gender, historiography, and race. I have been especially fortunate in having colleagues and friends whose conversation, ideas, and critical eyes helped this project develop and grow. I especially thank Daniel Asen, Robert Fallon, Gregory Radick, David Rothenberg, Tes Slominski, Nicol Hammond, Anna Nisnevich, Emily Zazulia, and Gavin Steingo for their thoughtful and supportive readings of portions of this text. I am also indebted to my fabulous editor at Wesleyan University Press, Marla Zubel, whose insights and support were invaluable, and to the entire staff at the press for their incredible expertise, help, and high standards.

      I am grateful for the institutional support that made the space this book needed to grow. Henry Martin, Lewis Porter, Ian Watson, and Dean Jan Lewis at Rutgers University–Newark made possible a crucial research leave in the fall of 2015. I benefitted tremendously, and am still benefitting, from the exchange of ideas and questions at the 2016 Wesleyan Race and Animals Summer Institute, and I especially thank Lori Gruen for her work hosting and organizing the institute. I am likewise indebted to Karin Bijsterveld, Joeri Bruyninckx, and the Sonic Skills Group at the University of Maastricht in 2012 and 2014, whose ideas and shared conversations helped me think through key questions about the transcription of sound. Many thanks to Deane Root, James Cassaro, Paolo Palmieri, Andrew Weintraub, and other friends and faculty at the University of Pittsburgh for their support and encouragement. This project owes so much to the enthusiasm and support of the music faculty at Columbia University during my postdoctoral fellowship in 2010–2012, and I am grateful as well for the American Musicological Society’s Eugene K. Wolf Travel Grant, which allowed me to read my way through French ornithology journals while waiting for archival boxes at the Bibliothèque nationale de France in 2010. Finally, the lively ideas and conversation of members of the American Musicological Society’s ecocriticism study group gave further depth to my questions and ideas.

      I am indebted in so many ways to

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