Acknowl edgments
There are many individuals and organ izations to thank and recognize for their
assistance in the completion of this book. I was awarded research fellowships
from several entities, beginning with a visiting scholar fellowship in 2006 from
the Cristobal Díaz-Ayala Cuban and Latin American Popu lar Music Collection
at the Cuban Research Institute, Florida International University. Veronica
González, director of the Cristobal Díaz-Ayala Collection, and Jaime Jaramillo
were especially helpful in providing me with research copies of many record-
ings. Research awards from the Associate Professor Support Program of the
College of Arts and Sciences (2011–2015), Moore Undergraduate Research
Apprentice Program (2011, 2012), ibm Ju nior Faculty Development Award of
the Office of the Executive Vice Chancellor and Provost (2009), and Small
Grant Program of the University Research Council (2009), all at the Univer-
sity of North Carolina at Chapel Hill, greatly enabled the bulk of my archival
A fellowship from the National Endowment for the Humanities (2014–
2015) was absolutely key in the completion of my manuscript. Any views, find-
ings, conclusions, or recommendations expressed in this publication do not
necessarily reflect those of the National Endowment for the Humanities. A
subvention award from the University Research Council at the University of
North Carolina at Chapel Hill also assisted greatly in the publication of the
book. I want to thank my recommenders Kenneth Bilby, Peter Manuel, and
Robin Moore for supporting my many fellowship applications.
I thank my colleagues at the University of North Carolina at Chapel Hill,
whose support of my work carried me through vari ous stages of my research.
These include Annegret Fauser, Mark Evan Bonds, and Severine Nef. I thank
as well our gradu ate students in the Gradu ate Program in Musicology at Caro-
lina, especially Christopher Wells for our discussions about the broader goals
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