Several people and institutions deserve our thanks for their support in publishing this book. We are grateful to our friends and colleagues who share our fascination with music and technoculture for their intellectual engagement in conversation, colloquia, and symposia, and ultimately for their contributions to this collection. We are especially grateful, too, for their patience throughout this process. We want to note the importance of the Society of Ethnomusicology in providing venues for the several conferences, symposia, and publications that first gave voice to many of the ideas presented here.
We also want to acknowledge the support of our home institutions, the University of California, Riverside, and the University of Tennessee. Both institutions have been generous in their support of our work; especially noteworthy is the direct support for this publication from the University of Tennessee’s Exhibit, Performance and Publication Expenses Fund and the University of California Academic Senate Research Fund.
We also thank the University of Illinois Press for making several essays available for publication here: Tong Soon Lee’s “Technology and the Production of Islamic Space: The Call to Prayer in Singapore,” Thomas Porcello’s “Tails Out: Social phenomenology and the Ethnographic Representation of Technology in Music Making,” and Jonathan Sterne’s “Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space,” all of which appeared previously in the journal Ethnomusicology. Additionally, we thank this press for allowing the publication of Leslie Gay’s essay “Before the Deluge: The Technoculture of Song Sheet Publishing Viewed from Late Nineteenth-century Galveston,” first published in American Music.
Finally, we want to thank the staff at Wesleyan University Press, especially Suzanna Tamminen and Leonora Gibson, for their guidance and work in seeing this book through its publication.